For blood, sweat and tears : the severing of subconscious connections with company and business model

Humans have altered environments and enhanced their well being unlike any other creature on the planet (Heilman & Donna, 2007); this is no different whether the environment is ecological, social or organisational. In recent times business modelling techniques have become intricately detailed in the pre-designing and evaluating of business flow before the final implementation (Ou-Yang & Lin, 2008). The importance of the organisation change and business process model is undeniable. The feedback received from real business process users is that the notation is easy to learn; the models do help people to understand the process better; the models can be used to improve the (business) process; and the notation is expressive enough to capture the essential information (Bennett, Doshi, Do Vale Junior, Kumar, Manikam, & Madavan, 2009).

The psychology of suggestion; a research into the subconscious nature of man and society,

Mode of access: Internet.

The psychology of suggestion : a research into the subconscious nature of man and society /

Mode of access: Internet.

The subconscious,

"The purpose of this essay in descriptive psychology is to provide a survey of a comprehensive aspect of human psychic endowment."

Subconscious phenomena.

Mode of access: Internet.

Contemporary take on deconstructed Medea : a review

THEATRE: The New Dead: Medea Material. By Heiner Muller. Stella Electrika in association with La Boite Theatre Company, Brisbane, November 19. THERE has been a lot of intensity in independent theatre in Brisbane during the past year, as companies, production houses and producers have begun building new programs and platforms to support an expansion of pathways within the local theatre ecology. Audiences have been exposed to works signalling the diversity of what Brisbane theatre makers want to see on stage, from productions of new local and international pieces to new devised works, and the results of residencies and development programs. La Boite Theatre Company closes its inaugural indie season with a work that places it at the contemporary, experimental end of the spectrum. The New Dead: Medea Material is emerging director Kat Henry's interpretation of Heiner Muller's 1981 text Despoiled Shore Medea Material Landscape with Argonauts. Start of sidebar. Skip to end of sidebar. End of sidebar. Return to start of sidebar. Muller is known for his radical adaptations of historical dramas, from the Greeks to Shakespeare, and for deconstructed texts in which the characters - in this case, Medea - violently reject the familial, cultural and political roles society has laid out for them. Muller's combination of deconstructed characters, disconnected poetic language and constant references to aspects of popular culture and the Cold War politics he sought to abjure make his texts challenging to realise. The poetry entices but the density, together with the increasing distance of the Cold War politics in the texts, leaves contemporary directors with clear decisions to make about how to adapt these open texts. In The New Dead: Medea Material, Henry works with some interesting imagery and conceptual territory. Lucinda Shaw as Medea, Guy Webster as Jason and Kimie Tsukakoshi as King Creon's daughter Glauce, the woman for whom Jason forsakes his wife Medea, each reference different aspects of contemporary culture. Medea is a bitter, drunken, satin-gowned diva with bite; Jason - first seen lounging in front of the television with a beer in an image reminiscent of Sarah Kane's in-yer-face characterisation of Hippolytus in Phaedra's Love - has something of the rock star about him; and Glauce is a roller-skating, karaoke-singing, pole-dancing young temptress. The production is given a contemporary tone, dominated by Medea's twisted love and loss, rather than by any commentary on her circumstances. Its strength is the aesthetic Henry creates, supported by live electro-pop music, a band stage that stands as a metaphor for Jason's sea voyage, and multimedia that inserts images of the story unfolding beyond these characters' speeches as sorts of subconscious flashes. While Tsukakoshi is engaging throughout, there are moments when Shaw and Webster's performances - particularly in the songs - are diminished by a lack of clarity. The result is a piece that, while slightly lacking in its realisation at times, undoubtedly flags Henry's facility as an emerging director and what she wants to bring to the Brisbane theatre scene.

Esteettinen kokemus kulttuurisiltana : Soile Yli-Mäyryn taide kiinalaisen, japanilaisen ja suomalaisen yleisön kokemana

AESTHETIC EXPERIENCE AS A BRIDGE ACROSS CULTURES Soile Yli-Mäyry s art as experienced by Chinese, Japanese and Finnish audiences This study focuses on surveying and analysing experiences of Soile Yli-Mäyry s art in eleven different countries. Questionnaires were translated into nine different languages. In addition, interviews were conducted on the experiences of Chinese, Japanese and Finnish art audiences concerning a painting called Sun Wind . The study was mainly inspired by John Dewey s ideas of art as an interactive communication where the artist, the piece and those who experience it make up an interactive process. In this process experience is a meeting point with both individual and communal characteristics. The data was collected in conjunction with exhibitions in 1997−2005. The survey was carried out in eleven countries (Finland, United States, Brazil, China, Taiwan, Japan, India, Israel, Argentina, Germany and Switzerland). The survey data was made up of 2,563 returned questionnaires. The interviews in China, Japan and Finland were about the same painting Sun Wind , which was transported from Finland to Japan (Tokyo) and China. A total of 89 people were interviewed in Shanghai Art Museum, 30 people in Port-Ginza Gallery, Tokyo and 45 people in Soile Yli-Mäyry s Gallery in Finland. Three hypotheses that were turned into research questions directed the study: 1. Are there differences/ similarities between culturally different communities in the meanings attributed to experiences, e.g. according to emotional dimensions, or do experiences focus more on reflecting on one s own life or meanings attributed to the world around us? What kinds of experiential dimensions are there in different countries? Do similar, analogous experiences that transcend cultural barriers emerge in culturally different countries such as China, Japan and Finland? 2. Does the data display different types of experiencing subjects which are typical to a subject s own country or are they experiences that can be compared to those generated by an ideal landscape , where the art touches the subconscious and collective selfhood, being thus transnational and timeless? Closer analysis focuses on audience experiences in China, Japan and Finland (interviews, textual survey data). 3. Are the experiences and interpretations of experts similar/different to those of larger audiences? The survey data has been analysed with the help of cross-tabulation. After content analysis of the interviews and textual survey data, different ways of experiencing subjects were sketched by country (China, Japan, Finland). The types were both similar and dissimilar. The most important types were social/ecological (China), therapeutic/reserved (Japan) and narrative/projecting (Finland). There were differences in how experiences were emphasised: the Chinese public approached their experiences from the viewpoint of pragmatism and utility, where they could obtain new ideas for their own work or experiencing the exhibition gave courage to approach their own lives from a new perspective. In turn, the Japanese public experienced the art from a therapeutic angle and from a very reserved perspective, which Dylan Evans (2001, 13−17) has described as typical to Japanese culture. The experiences of the Finnish audience were strongly therapeutic and narrative. The people projected their emotions onto the piece and in a concrete manner forged them into a story. The partly similar results of this study in China, Japan and Finland demonstrate that the art displayed in the exhibitions contain images of the beginning or elements connected to the beginning of life, which touch the subconscious in the way an ideal landscape would. Experiencing the meaningfulness of one s own life through art is a common thread and a bridge across cultures that unites the experiences of the audiences of this study, be they Taoists, Confucians, Buddhists or Maoists in China, Shinto followers, Zen Buddhists in Japan or Evangelist-Lutherans in Finland. Keywords: experience, reception, bridge across cultures, types of experiencing subjects, experiential process, ideal landscape, elementality

Finlandssvenska åsikter om och attityder till modern språkpåverkan

The study describes and analyzes Finland Swedes attitudes to modern-day linguistic influence, the relationship between informants explicitly reported views and the implicit attitudes they express towards language influence. The methods are primarily sociolinguistic. For the analysis of opinions and attitudes I have further developed and tested a new tool in attitude research. With statistical correlation analysis of data collected through a quantitative survey I describe the views that Swedish-language Finns (N=500) report on the influence of English, on imports, and on domain loss. With experimental matchedguise techniques, I study Finland-Swedes (N=600) subconscious reactions to English imports in spoken text. My results show that the subconscious reactions in some respects differ markedly from the views informants explicitly report that they have: informants respond that they would like English words that come into Swedish to be replaced by Swedish replacement words, but in a matched-guise test on their subconscious attitudes, the informants consider English words in a Swedish context to have a positive effect. The topic is further dealt with in interviews where I examine 36 informants implicit attitudes through interactional sociolinguistic analyses. This study comes close to pragmatic discourse analysis in its focus on pragmatic particles and modality. The study makes a rather strict distinction between explicitly expressed opinions and implicit, subconscious attitudes. The quantitative analyses suggest that the opinions we express can be tied to the explicit in language. The outcome of the matched-guise test shows that it is furthermore possible to find subconscious, implicit attitudes that people in actual situations rely on when they make decisions. The discourse analysis finds many subconscious signals, but it also shows that the signals arise in interaction with one s interlocutor, the situation, and the norms in the society. To account for this I have introduced the concept of socioconscious attitude. Socioconscious attitudes reflect not only the traditions and values the utterer grew up with, but also the speaker s relation to the social situation (s)he takes part in.

Justicia caballeresca en América

Integran este número de la revista ponencias presentadas en Studia Hispanica Medievalia VIII: Actas de las IX Jornadas Internacionales de Literatura Española Medieval, 2008, y de Homenaje al Quinto Centenario de Amadis de Gaula.

Publicidad subliminal

[ES] La publicidad subliminal es un tipo de publicidad que utiliza estímulos que no son percibidos conscientemente, pero que influyen en nuestra conducta con la finalidad de lograr determinados objetivos. Su primera alusión se hizo en el año 400 a.C. y se ha mantenido viva hasta la actualidad. Hay quienes defienden su existencia mientras que otros aseguran que no existe, por lo tanto es un tema que genera gran controversia. Está prohibida y penada por la ley, pero a pesar de ello se utiliza a diario. La podemos encontrar principalmente en los medios de comunicación, pero también en canciones de moda, cintas de autoayuda, centros comerciales o en el trabajo. Tenemos que precisar que lo que está prohibido es la publicidad subliminal, pero no las técnicas subliminales que se utilizan para resolver problemas psicológicos, para vencer la tartamudez, dejar de fumar… La publicidad subliminal pretende llamar la atención del consumidor para incitarle a que actué de una determinada manera. Esto lo consigue mediante la utilización de mensajes ocultos. En este trabajo vamos a ver si en realidad existe o no la publicidad subliminal, y en caso afirmativo, si de verdad provoca un incremento de las ventas. También veremos que en nuestra vida diaria nos encontramos con la presencia de mensajes subliminales y su posible uso para manipular nuestra conducta.

Qualitative evaluation of KA24 (Knowledge Access 24)

Durbin, J. & Urquhart, C. (2003). Qualitative evaluation of KA24 (Knowledge Access 24). Aberystwyth: Department of Information Studies, University of Wales Aberystwyth. Sponsorship: Knowledge Access 24 (NHS)

Starbog: The Garden Virtuoso and the Turing Machine

This article will discuss a recent ensemble composition entitled Starbog which was toured and broadcast in Britain in 2006 . The composition of Starbog focused on developing working methods which combined computer-based techniques (using OpenMusic) with more subconscious means of generating musical ideas. The challenge in achieving this was as much aesthetic/philosophical as it was technical and the present article is intending as a ‘sounding’ which focuses on the influence OpenMusic has had on the composer’s music, rather than documenting the nature of the often simple application of algorithms.

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How is it possible that civilization has a global understanding of the abstraction of the human form? At a subconscious level as humans we have the ability to find the form of the body in the most minimal of shapes, objects, landscape and even natural phenomena such as clouds, it is an ability inherent in human nature. This deep-rooted facility to recognise the human form at various levels of abstraction is also developed further by our life experiences, environment and total education; specifically in the fine and applied arts. For this research I have focused on the change between realistic representations of the human form to complete abstraction. I have broken it down to its most basic elements to explore at what point our visual language allows us to recognise and define a shape or object as being influenced by, or connected to, the human form. I have concentrated on extending my own visual language relating to the human form within my own practice. A series of practical research projects has been undertaken and has been supported by a new series of investigative works, drawings and written evidence of the ways in which the figure can be represented, documenting the process via the thesis and final works. As part of my research, I have investigated the way artists working with clay have abstracted the human form focusing in particular on work from the 1950s to the present day using clay, drawing and installation. I have looked at how, over this period, artists have developed their own visual signifiers of the human form within their abstract/representational creations. The aim of this research will be falls into two parts: • To investigate how far one can push the human form in clay before it moves into abstraction • To locate the vanishing point where viewers still identify the human within ceramic abstract sculpture

Why are There so Few Female Computer Scientists?

This report examines why women pursue careers in computer science and related fields far less frequently than men do. In 1990, only 13% of PhDs in computer science went to women, and only 7.8% of computer science professors were female. Causes include the different ways in which boys and girls are raised, the stereotypes of female engineers, subtle biases that females face, problems resulting from working in predominantly male environments, and sexual biases in language. A theme of the report is that women's underrepresentation is not primarily due to direct discrimination but to subconscious behavior that perpetuates the status quo.

Neuromarketing: qué sabe de ti, que los demás no

En este documento se describe la forma en la que el neuromarketing hace que la segmentación de género, sea una herramienta funcional para poder conocer al cliente y sus deseos. Se explorará el mercadeo desde sus inicios, mostrando cómo evoluciona hasta enfocarse en el cliente como su principal objetivo. Al llegar a este punto el mercadeo se encuentra con un nuevo aliado, la neurociencia, la cual le muestra que por medio de diversas técnicas tiene la capacidad de medir las reacciones de su consumidor, a los distintos estímulos que le envía para cautivarlo. En este proceso se dan a conocer las tecnologías más usadas por el neuromarketing para este fin; además se expondrá parte de la anatomía del consumidor con la que interactúa el mercadeo: sus sentidos y su cerebro. Posteriormente se explica cómo a través del entendimiento de las percepciones y comportamiento del cliente, puede beneficiarse el mercadeo en sus propósitos y su vez, satisfacer al mercado en lo que realmente quiere.