Public Viewers Research Articles

Effects of Social Media on Moral Values of Pakistani Community: An Analysis of Youth Perception in Lahore

In this research article, the discussion will revolve around social media users and their impact on social media content making. Media produce what public demands, but that can cause an affect to moral values of society. Pakistan is an Islamic state where there is culture and traditions.But recently it seems that our social media contains numerous content that is being criticized by public viewers, this study is to identify the relation of social media users (Netizens) with social media content maker (influencers). This research article also study about trolls/memes cause and effect. Our young generation is known to be active on social media due to which reason social media content is becoming questionable and the increase in such contain do have cause and effects that will be study in this article and will be explained in depth analysis.

Pengaruh Strategi Pemasaran dan Marketing Communication terhadap Brand Awareness dan Dampaknya pada Minat Menonton RCTI (Rajawali Citra Televisi Indonesia)

At the age of 24, in 2013 (the period of January to December 2013), Rajawali Citra Televisi Indonesia (RCTI) has been retaining the position of market leader with a 17.8% audience share reached. Based on that, RCTI needs to maintain to foster and expand the public watching interest on their program. This study aims to determine the effect of marketing strategy and marketing communications on brand awareness and the impact on the public watching interest on their program. The method used is associative-survey research methods. Data collection techniques are done by using a questionnaire distributed to the public viewers of RCTI and by making interviews to the Senior Manager. Data analysis techniques used is path analysis. As a result, there is a positive and significant effect of the variables of marketing strategy and marketing communications on brand awareness and the impact on public watching interest on RCTI.

“Digital earth” in support of an online oceanic educational public service and popularization

According to the initial vision of “digital earth” (DE), the public should constitute a significant proportion of its users. However, to date, most of the studies and applications have focused on science, the private sector and government. A DE-supported online oceanic educational public service and popularization system, iOcean, is studied. First, the vision for the public’s engagement with “digital ocean” is described: an analysis is presented from four aspects, i.e., the space dimension, the time dimension, the state dimension and its relationship with human beings. Second, the technical framework of iOcean is discussed, including data updating and model computing, the data, the function, and the application layers. Third, two key technologies are studied in detail that will enable the construction of iOcean. More than half a million public viewers have used the current version’swebsite. Practical demonstrations show that iOcean can bring virtual oceans to web browsers and desktops and construct a bridge between government departments and the general public.

President's page

AbstractEditor's SummaryAs the president of the newly renamed Association for Information Science & Technology, Dillon recognizes critical behind‐the‐scenes work being done to improve ASIS&T from the inside out. The Task Force on Web Presence will develop a plan to enhance internal communications and to keep information current and easy to find. Developing a moderated discussion forum on information will help solidify the organization's position as a thought leader. An information resource on what information professionals do will help define the field for public viewers and solicit thoughts on careers and opportunities. Recognizing the value of volunteer involvement, input and assistance, Dillon invites all ASIS&T members to participate actively at this turning point for the global association.

The monuments of Piedras Negras, an ancient Maya city

Patronized by royalty between the sixth and eighth centuries, the monuments of Guatemala's ancient Maya city of Piedras Negras were carved by sculptors with remarkable skills and virtuosity. Together patrons and sculptors created monumental imagery in a manner unique within the larger history of ancient Maya art by engaging public viewers through illustrations of ceremonies focusing on family and the feminine in royal agendas. Flora Clancy's introduction contextualizes her work with other studies and lays out her methodological framework. She then discusses the known monuments of the city sequentially by reigns. Individual rulers are characterized by a biography drawn from the hieroglyphic texts and the icons or imagery of their monuments are analyzed and discussed. Although the monuments of Piedras Negras are acknowledged as social, political, and cultural productions, Clancy also treats them as works of art that at their best operate on transcendent levels dissolving and overruling the contingencies of history and cultural differences.

ASAP, a systematic annotation package for community analysis of genomes.

ASAP (a systematic annotation package for community analysis of genomes) is a relational database and web interface developed to store, update and distribute genome sequence data and functional characterization (https://asap.ahabs.wisc.edu/annotation/php/ASAP1.htm). ASAP facilitates ongoing community annotation of genomes and tracking of information as genome projects move from preliminary data collection through post-sequencing functional analysis. The ASAP database includes multiple genome sequences at various stages of analysis, corresponding experimental data and access to collections of related genome resources. ASAP supports three levels of users: public viewers, annotators and curators. Public viewers can currently browse updated annotation information for Escherichia coli K-12 strain MG1655, genome-wide transcript profiles from more than 50 microarray experiments and an extensive collection of mutant strains and associated phenotypic data. Annotators worldwide are currently using ASAP to participate in a community annotation project for the Erwinia chrysanthemi strain 3937 genome. Curation of the E. chrysanthemi genome annotation as well as those of additional published enterobacterial genomes is underway and will be publicly accessible in the near future.

Changing Exchanges: American Art History on and at an International Stage

Barbara Groseclose The phenomena to which my title alludes require explanation: research and writing on the history of pre-1945 American art by non-Americans have reached a stage of proliferation that permits the discipline, formerly practiced almost entirely by Americans, to be deemed international. Yet art historians in the United States may find themselves only vaguely aware of these new circumstances. To be sure, the essays and books of Terry Smith and Robert Hughes, who are Australians, and Britons Robert Lawson-Peebles and Andrew Hemingway regularly receive that universal academic imprimatur, a place on the syllabus. On the other hand, Roland Tissot, who gives American impressionist painting the benefit of French formalist readings, and his compatriot Jean-Loup Bourget, a multifaceted historian of American cinema and painting, are less familiar to American readers not only because tend to write in French but also because sometimes publish in venues outside the customary sphere of most university libraries.1 A more extensive listing of international writers could be compiled; my purpose, however, is not to recount a bibliography but to account for it. Since art history as it was introduced to programs of higher education was German in its intellectual bases and-as a result of World War II-often in its faculty, then in the United States it has always been a discipline practiced by an international coterie. National art histories being what are, of course, Americans generally assume that their own accounts of, say, the Hudson River School, are authoritative, much as the Dutch favor their own explanations of Rembrandt or Italians prefer Italian readings of Michelangelo. But unlike widespread European art collections that promote internationalism among connoisseurs, patrons, and scholars as well as public viewers, the objects constituting historical American painting and sculpture have been confined almost entirely to the United States, limiting their exposure.2 In terms of non-American scholarship in American art, the exchange in past years has thus been presumed to be, to put it crudely, us to them. While this does not accurately describe the situation, it describes a perception of it. If they now produce compelling analyses, offer novel insights, and reason persuasively, it may be said that the exchange is no longer one-way. Not that there has been a lot of traffic previously, which is why I helped to convene a panel for the 1999 meeting of the Association of Historians of American Art (AHAA) at the College Art Association (CAA) to address the question: Where and how does the study of historical American art show up abroad? Dismayed that the trajectory of American art history's scholarly and popular rise in the United States did not appear

The Susanna Crystal of Lothar II: Chastity, the Church, and Royal Justice

The meaning of the ninth-century Susanna Crystal has never been satisfactorily explained. Lauer's 1908 hypothesis connects the gem with the attempted divorce of Lothar II. Carolingian polemic literature and commentaries on Daniel 13 suggest three broader interpretations: Susanna herself is Ecclesia, or she is an example of Chastity, or the entire episode is an illustration of just judgment. The last of these is most fully supported by the object. The cycle on the crystal includes and compositionally emphasizes the summoning of Susanna (not normally illustrated), and carefully differentiates between interrogation and condemnation. A judge and public viewers are added to the biblical narrative. All of these features stress the proper functioning of legal judgment. The added judge resembles a Carolingian king, and a prominent inscription (LOTHARIVS REX FRANCORVM ME FIERI IVSSIT) draws attention to the patronage of Lothar II (855-869). The unusual wording of this inscription stresses Lothar's position, his role as patron, and the link between him and his people. Just judgment is frequently cited in Carolingian theoretical works as one of the most important characteristics of the ideal king. The Susanna Crystal may claim this important royal virtue for Lothar II.