2263 본문읽기 15
카테고리 없음2023. 5. 13. 20:47
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2263-30
In recent years urban transport professionals globally have largely acquiesced to the view that automobile demand in cities needs to be managed rather than accommodated. Rising incomes inevitably lead to increases in motorization. Even without the imperative of climate change, the physical constraints of densely inhabited cities and the corresponding demands of accessibility, mobility, safety, air pollution, and urban livability all limit the option of expanding road networks purely to accommodate this rising demand. As a result, as cities develop and their residents become more prosperous, persuading people to choose not to use cars becomes an increasingly key focus of city managers and planners. Improving the quality of alternative options, such as walking, cycling, and public transport, is a central element of this strategy. However, the most direct approach to managing automobile demand is making motorized travel more expensive or restricting it with administrative rules. The contribution of motorized travel to climate change reinforces this imperative.
2263-31
Young contemporary artists who employ digital technologies in their practice rarely make reference to computers. For example, Wade Guyton, an abstractionist who uses a word processing program and inkjet printers, does not call himself a computer artist. Moreover, some critics, who admire his work, are little concerned about his extensive use of computers in the art-making process. This is a marked contrast from three decades ago when artists who utilized computers were labeled by critics ― often disapprovingly ― as computer artists. For the present generation of artists, the computer, or more appropriately, the laptop, is one in a collection of integrated, portable digital technologies that link their social and working life. With tablets and cell phones surpassing personal computers in Internet usage, and as slim digital devices resemble nothing like the room-sized mainframes and bulky desktop computers of previous decades, it now appears that the computer artist is finally extinct.
2263-32
The critic who wants to write about literature from a formalist perspective must first be a close and careful reader who examines all the elements of a text individually and questions how they come together to create a work of art. Such a reader, who respects the autonomy of a work, achieves an understanding of it by looking inside it, not outside it or beyond it. Instead of examining historical periods, author biographies, or literary styles, for example, he or she will approach a text with the assumption that it is a self-contained entity and that he or she is looking for the governing principles that allow the text to reveal itself. For example, the correspondences between the characters in James Joyce's short story "Araby" and the people he knew personally may be interesting, but for the formalist they are less relevant to understanding how the story creates meaning than are other kinds of information that the story contains within itself.
2263-33
Manufacturers design their innovation processes around the way they think the process works. The vast majority of manufacturers still think that product development and service development are always done by manufacturers, and that their job is always to find a need and fill it rather than to sometimes find and commercialize an innovation that lead users have already developed. Accordingly, manufacturers have set up market-research departments to explore the needs of users in the target market, product-development groups to think up suitable products to address those needs, and so forth. The needs and prototype solutions of lead users ― if encountered at all ― are typically rejected as outliers of no interest. Indeed, when lead users' innovations do enter a firm's product line ― and they have been shown to be the actual source of many major innovations for many firms ― they typically arrive with a lag and by an unusual and unsystematic route.
2263-34
Development can get very complicated and fanciful. A fugue by Johann Sebastian Bach illustrates how far this process could go, when a single melodic line, sometimes just a handful of notes, was all that the composer needed to create a brilliant work containing lots of intricate development within a coherent structure. Ludwig van Beethoven's famous Fifth Symphony provides an exceptional example of how much mileage a classical composer can get out of a few notes and a simple rhythmic tapping. The opening da-da-da-DUM that everyone has heard somewhere or another appears in an incredible variety of ways throughout not only the opening movement, but the remaining three movements, like a kind of motto or a connective thread. Just as we don't always see the intricate brushwork that goes into the creation of a painting, we may not always notice how Beethoven keeps finding fresh uses for his motto or how he develops his material into a large, cohesive statement. But a lot of the enjoyment we get from that mighty symphony stems from the inventiveness behind it, the impressive development of musical ideas.
In recent years urban transport professionals globally have largely acquiesced to the view that automobile demand in cities needs to be managed rather than accommodated. Rising incomes inevitably lead to increases in motorization. Even without the imperative of climate change, the physical constraints of densely inhabited cities and the corresponding demands of accessibility, mobility, safety, air pollution, and urban livability all limit the option of expanding road networks purely to accommodate this rising demand. As a result, as cities develop and their residents become more prosperous, persuading people to choose not to use cars becomes an increasingly key focus of city managers and planners. Improving the quality of alternative options, such as walking, cycling, and public transport, is a central element of this strategy. However, the most direct approach to managing automobile demand is making motorized travel more expensive or restricting it with administrative rules. The contribution of motorized travel to climate change reinforces this imperative.
2263-31
Young contemporary artists who employ digital technologies in their practice rarely make reference to computers. For example, Wade Guyton, an abstractionist who uses a word processing program and inkjet printers, does not call himself a computer artist. Moreover, some critics, who admire his work, are little concerned about his extensive use of computers in the art-making process. This is a marked contrast from three decades ago when artists who utilized computers were labeled by critics ― often disapprovingly ― as computer artists. For the present generation of artists, the computer, or more appropriately, the laptop, is one in a collection of integrated, portable digital technologies that link their social and working life. With tablets and cell phones surpassing personal computers in Internet usage, and as slim digital devices resemble nothing like the room-sized mainframes and bulky desktop computers of previous decades, it now appears that the computer artist is finally extinct.
2263-32
The critic who wants to write about literature from a formalist perspective must first be a close and careful reader who examines all the elements of a text individually and questions how they come together to create a work of art. Such a reader, who respects the autonomy of a work, achieves an understanding of it by looking inside it, not outside it or beyond it. Instead of examining historical periods, author biographies, or literary styles, for example, he or she will approach a text with the assumption that it is a self-contained entity and that he or she is looking for the governing principles that allow the text to reveal itself. For example, the correspondences between the characters in James Joyce's short story "Araby" and the people he knew personally may be interesting, but for the formalist they are less relevant to understanding how the story creates meaning than are other kinds of information that the story contains within itself.
2263-33
Manufacturers design their innovation processes around the way they think the process works. The vast majority of manufacturers still think that product development and service development are always done by manufacturers, and that their job is always to find a need and fill it rather than to sometimes find and commercialize an innovation that lead users have already developed. Accordingly, manufacturers have set up market-research departments to explore the needs of users in the target market, product-development groups to think up suitable products to address those needs, and so forth. The needs and prototype solutions of lead users ― if encountered at all ― are typically rejected as outliers of no interest. Indeed, when lead users' innovations do enter a firm's product line ― and they have been shown to be the actual source of many major innovations for many firms ― they typically arrive with a lag and by an unusual and unsystematic route.
2263-34
Development can get very complicated and fanciful. A fugue by Johann Sebastian Bach illustrates how far this process could go, when a single melodic line, sometimes just a handful of notes, was all that the composer needed to create a brilliant work containing lots of intricate development within a coherent structure. Ludwig van Beethoven's famous Fifth Symphony provides an exceptional example of how much mileage a classical composer can get out of a few notes and a simple rhythmic tapping. The opening da-da-da-DUM that everyone has heard somewhere or another appears in an incredible variety of ways throughout not only the opening movement, but the remaining three movements, like a kind of motto or a connective thread. Just as we don't always see the intricate brushwork that goes into the creation of a painting, we may not always notice how Beethoven keeps finding fresh uses for his motto or how he develops his material into a large, cohesive statement. But a lot of the enjoyment we get from that mighty symphony stems from the inventiveness behind it, the impressive development of musical ideas.
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