scholarly journals Regional imbalances in the localization of creative capital

2021 ◽  
Vol 301 ◽  
pp. 03007
Author(s):  
Arina Suvorova
Keyword(s):  
Economic System ◽  
Statistical Data ◽  
Spatial Location ◽  
Entrepreneurial Activity ◽  
Federal State ◽  
Capital Cities ◽  
Creative Capital ◽  
The Difference ◽  
Changing Role

In the context of the changing role of non-material factors of development, creativity becomes an obligatory feature of a competitive economic system. This study is intended to characterize the features of the localization of creative capital in Russia. During the study, the features of the placement of components that form creative capital (associated with the cultural potential of a territory, the entrepreneurial activity of people, and innovation) were analyzed. The paper uses the statistical data of Federal State Statistics Service on the processes occurring in the regions. The methodological basis of the study is a cartographic analysis, as well as an analysis of indicators that make it possible to assess the level of inter-territorial inequality and the degree of concentration of resources. It was found that the localization of the elements of each of them has its own specifics: the least homogeneous is the space of implementation of innovative processes, while the difference between regions in the parameters of entrepreneurial activity is not so pronounced. This allows concluding that there is no single algorithm for the spatial location of creative capital. It has also been found that while the capital cities (Moscow and St. Petersburg) are clear centers for the localization of creative capital, the scale of other major cities in the country does not always allow them to act as points of attraction for creative resources.

scholarly journals Improvisation in Electronic Music—The Case of Vienna Electronica

2018 ◽  
Vol 2 (1) ◽  
pp. 553-561
Author(s):  
Ewa Mazierska
Keyword(s):  
Electronic Music ◽  
Music Production ◽  
Cultural Milieu ◽  
The Difference ◽  
Changing Role

Abstract The purpose of this article is to establish what improvisation means and how it is used by electronic musicians operating in Vienna from the late 1980s till the present day: Peter Rehberg, Peter Kruder, Rupert Huber, Patrick Pulsinger, and the members of the band Sofa Surfers. It attempts to find out whether they believe that their choice of electronic instruments enhanced or impeded their ability to improvise and their sense of artistic agency; what type of improvisation they favour and what are their views on the changing role of improvisation in producing electronic music. It also examines the difference between old and new style electronic instruments in improvisation and music production at large. Finally, it asks a question whether the musicians had any views about the link (or the lack thereof) between the cultural milieu in which they operate and their willingness and ability to improvise.

scholarly journals Norwegian Festivals and a Music Economy in Transition, The art of balancing ambitions, expectations and limitations

2016 ◽  
Author(s):  
Daniel Nordgård
Keyword(s):  
The Other ◽  
Be Stars ◽  
Music Festival ◽  
Black And White ◽  
Life On Mars ◽  
Long Time ◽  
The Difference ◽  
Changing Role ◽  
Bow Tie

Somewhere around 10.30 p.m., July 3rd, 2002, David Bowie enters the stage at Odderøya, Kristiansand to perform at the Quart-Festival as the headlining act of that year. The atmosphere was electric as 12,000 fans (sold out) welcome the biggest act yet to visit Norway’s biggest music festival. Bowie himself, wearing a loosened bow tie and a black and white suit, walks calmly to the front of the stage, takes a bow at his audience and opens what is considered a legendary concert in Kristiansand with ‘Life on Mars’. A long-time volunteer at the Quart-Festival, I was in that audience and, although not a devoted Bowie fan, I was deeply fascinated by his appearance. I remember his presence; the calm and the control Bowie exercised from when he entered the stage until he left. I remember the line of songs that I knew by heart – songs that have been canonised years ago. I also remember noticing the difference in appearance from Bowie and the number of ‘soon-to-be-stars’ and ‘could-have-been-stars’, struggling to attain momentum and attention on stage. Here was a star – a true legend. Both prior to, but mostly after David Bowie’s concert at the Quart-Festival in 2002, there was a vivid discussion among Norwegian festival managers and journalists on whether it was at all sustainable for festivals to give artist fees as big as that rumoured to be the case with David Bowie. There were concerns on whether a sacred line had been broken with regards to the size of his fee, as well as claims that Mr Bowie was considered a ‘stadium-artist’ and hence whether such artists were at all economically sustainable to present in Norwegian festival programmes. There was a concern to whether at all Norwegian festivals had the capacity to present artists on this level. Remarkably absent in the discussions of 2002, were any concerns related to ‘the other artists’, the names underneath the headlining acts; new audience behaviour; or a potentially changing role of the festival. In 2015, however, these issues are more apparent and in the following I will attempt to discuss them in relation to a set of interviews I did with three Norwegian festival managers in the spring of 2011. I will attempt to describe how the festivals have been affected by significant change taking place within the music industries and, in particular, seek to explore to what extent these changes have affected the role of the festival, and most important, to what extent such change is at all recognised by the festivals.

scholarly journals Quantifying the Spatial Evolution of Bai People’s Courtyard Houses

2021 ◽  
Vol 1203 (3) ◽  
pp. 032009
Author(s):  
Jonathan Krauth
Keyword(s):  
Spatial Location ◽  
Spatial Evolution ◽  
Social Culture ◽  
Agricultural Produce ◽  
Key Space ◽  
The Social ◽  
The Family ◽  
Changing Role ◽  
The Village

Abstract Bai People’s courtyard houses in the rural parts of China’s Dali area are a particular type of Chinese courtyard house, adapted to local culture and conditions. These dwellings were constructed in vernacular tradition up until the 1980s but underwent significant changes in the following decades. The goal of this study is to examine the evolution of the spatial structure using quantitative data, and relate it to changes in the social culture of the inhabitants. Three vernacular and three contemporary cases in the village Gushengcun are compared. To enhance understanding and examine the idea of evolutionary change in architecture, the concept of a Spatial DNA is applied, building on a metaphor of the biological DNA. It uses Space Syntax techniques and links numerical values of integration and space type to functional information. Findings show that the integration of the courtyard and bedrooms is decreasing, and space types indicate a change from rings to sequences. In contrast, the kitchen space integration is increasing. These results reveal parallels to changes in the means of subsistence, social structure of the family and conceptions of privacy: Decreasing spatial centrality of the courtyard - once a key space in the processing of agricultural produce - coincides with a shift from work in the primary sector to secondary and tertiary industries. Modern conceptions of privacy and individualism replacing the family as a unit of privacy are related to the segregation of bedrooms. The change in the spatial location of the kitchen is interpreted in the context of abolished gender separation and the changing role of women. This study hence provides measurable evidence to the links between space and culture in an intertemporal comparison of dwelling types.

ROLE OF THE STATE IN THE MANAGEMENT OF INNOVATIVE ACTIVITIES AT ENTERPRISES OF THE REPUBLIC OF UZBEKISTAN

2020 ◽  
pp. 32-37
Author(s):  
O.E. Akhunova ◽  
Keyword(s):  
Statistical Data ◽  
Innovation Management ◽  
Special Role ◽  
Furniture Industry ◽  
Holding Company ◽  
Role Of The State ◽  
Innovative Potential ◽  
The Difference ◽  
The Republic

The article is devoted to the issues of building innovative potential that ensures the economic growth of the Republic of Uzbekistan. Based on statistical data, the article discusses the factors stimulating the introduction of effective mechanisms for managing innovative activities at the enterprises of the furniture industry of the republic. The author shows the difference between the regions in the process of introducing innovations, analyzes the dynamics of innovative changes from 2012 to 2018. Using the example of the FAYZ Holding company, it analyzes the effectiveness of innovation management, identifies the most effective mechanisms that ensure the growth of economic indicators. It is concluded that a special role in the development of the innovative potential of the enterprise is played by the attraction of investments and the use of new, more economical methods of production.

The role of differential phase contrast in electron microscopy

1978 ◽  
Vol 36 (1) ◽  
pp. 176-177
Author(s):  
E.M. Waddell ◽  
J.N. Chapman ◽  
R.P. Ferrier
Keyword(s):  
Phase Contrast ◽  
Practical Method ◽  
Position Vector ◽  
Differential Phase ◽  
Pure Phase ◽  
Differential Phase Contrast ◽  
The Difference ◽  
Image Position ◽  
First Moment

Dekkers and de Lang (1977) have discussed a practical method of realising differential phase contrast in a STEM. The method involves taking the difference signal from two semi-circular detectors placed symmetrically about the optic axis and subtending the same angle (2α) at the specimen as that of the cone of illumination. Such a system, or an obvious generalisation of it, namely a quadrant detector, has the characteristic of responding to the gradient of the phase of the specimen transmittance. In this paper we shall compare the performance of this type of system with that of a first moment detector (Waddell et al.1977).For a first moment detector the response function R(k) is of the form R(k) = ck where c is a constant, k is a position vector in the detector plane and the vector nature of R(k)indicates that two signals are produced. This type of system would produce an image signal given bywhere the specimen transmittance is given by a (r) exp (iϕ (r), r is a position vector in object space, ro the position of the probe, ⊛ represents a convolution integral and it has been assumed that we have a coherent probe, with a complex disturbance of the form b(r-ro) exp (iζ (r-ro)). Thus the image signal for a pure phase object imaged in a STEM using a first moment detector is b2 ⊛ ▽ø. Note that this puts no restrictions on the magnitude of the variation of the phase function, but does assume an infinite detector.

The changing role of the dental dean

1969 ◽  
Vol 33 (3) ◽  
pp. 355-360
Author(s):  
JA DiBiaggio
Keyword(s):  
Changing Role

The changing role of school psychology in Pennsylvania

1993 ◽  
Author(s):  
Paul Lowery ◽  
Joseph Kovaleski
Keyword(s):  
School Psychology ◽  
Changing Role
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