Audience Analysis Quotes

A market research project starts when you have the answers to the following questions: 1. Why are you researching? 2. What are you going to do with the results?

Having an objective for any project is highly important as we are living in a world full of data—some useful but mostly useless.

For identifying the objective of your market research project, it is highly advisable that you should zero in on the exact information you want to collect and from who.

If you are going to use the results of market research to make a big business decision, then it’s a good idea to do quantitative research rather than qualitative.

The more numbers you know through market research, the more you will be able to cut down your business risk.

The biggest advice I can give for setting up your market research objectives is to be very clear and concise.

One market research project should have only one objective. More than one objective can affect the effectiveness of your research.

Never guess anything. You will make bad business decisions if you do that. If you don’t have data on something, start a research project on that topic.

Defining a good project is dependent on how well you can define your needs. The better you specify your requirements, the better the results of a project are going to be.

Interviews are a qualitative form of collecting data. The reason it generates good responses is because it’s way more personal than other forms of data gathering techniques.

Your market research objectives need to fit into your marketing strategy. If your objectives are not supporting your marketing strategy, then it’s going to be a waste of your resources.

All the data you have collected is of no use if you don’t know how to gain insights from it, how to make profitable decisions with the help of this, and how to put your data into action.

To save ourselves from getting lost in this sea of data and ending up directionless, it becomes vital for every business owner to not just set up their market research objectives but also to stick to those.

Many research organizations are regularly studying the market and publishing their results in the form of various reports and case studies. You can study these reports to get an understanding of your issue.

As a rule, we don't like to feel to sad or lonely or depressed. So why do we like music (or books or movies) that evoke in us those same negative emotions? Why do we choose to experience in art the very feelings we avoid in real life? Aristotle deals with a similar question in his analysis of tragedy. Tragedy, after all, is pretty gruesome. […] There's Sophocles's Oedipus, who blinds himself after learning that he has killed his father and slept with his mother. Why would anyone watch this stuff? Wouldn't it be sick to enjoy watching it? […] Tragedy's pleasure doesn't make us feel "good" in any straightforward sense. On the contrary, Aristotle says, the real goal of tragedy is to evoke pity and fear in the audience. Now, to speak of the pleasure of pity and fear is almost oxymoronic. But the point of bringing about these emotions is to achieve catharsis of them - a cleansing, a purification, a purging, or release. Catharsis is at the core of tragedy's appeal.

If nothing else, my analysis of George W.’s oratory style had taught me that a sincere countenance and a confident stance were sufficient to distract your audience from the fact that you were talking rubbish.

As it’s not feasible to research everyone in your target audience, you focus on a group of people that can represent most of the others in your market. For this, you wisely identify and obtain a sample and make sure that no group from your target market is left unrepresented.

If anyone in your publishing life were to argue against a particular book or a career aspiration for reasons you had not already pondered and rejected after careful analysis, if they dazzled you with brilliant new considerations, then you’d have to back off and revisit your decisions. But what I was told never dazzled me. For example, I was often advised, by different people, that my work would never gain a big audience because my vocabulary was too large.

Even as I wrote my note to Fern, for instance, expressing sentiments and regrets that were real, a part of me was noticing what a fine and sincere note it was, and anticipating the effect on Fern of this or that heartfelt phrase, while yet another part was observing the whole scene of a man in a dress shirt and no tie sitting at his breakfast nook writing a heartfelt note on his last afternoon alive, the blondwood table's surface trembling with sunlight and the man's hand steady and face both haunted by regret and ennobled by resolve, this part of me sort of hovering above and just to the left of myself, evaluating the scene, and thinking what a fine and genuine-seeming performance in a drama it would make if only we all had not already been subject to countless scenes just like it in dramas ever since we first saw a movie or read a book, which somehow entailed that real scenes like the one of my suicide note were now compelling and genuine only to their participants, and to anyone else would come off as banal and even somewhat cheesy or maudlin, which is somewhat paradoxical when you consider – as I did, setting there at the breakfast nook – that the reason scenes like this will seem stale or manipulative to an audience is that we’ve already seen so many of them in dramas, and yet the reason we’ve seen so many of them in dramas is that the scenes really are dramatic and compelling and let people communicate very deep, complicated emotional realities that are almost impossible to articulate in any other way, and at the same time still another facet or part of me realizing that from this perspective my own basic problem was that at an early age I’d somehow chosen to cast my lot with my life’s drama’s supposed audience instead of with the drama itself, and that I even now was watching and gauging my supposed performance’s quality and probable effects, and thus was in the final analysis the very same manipulative fraud writing the note to Fern that I had been throughout the life that had brought me to this climactic scene of writing and signing it and addressing the envelope and affixing postage and putting the envelope in my shirt pocket (totally conscious of the resonance of its resting there, next to my heart, in the scene), planning to drop it in a mailbox on the way out to Lily Cache Rd. and the bridge abutment into which I planned to drive my car at speeds sufficient to displace the whole front end and impale me on the steering wheel and instantly kill me. Self-loathing is not the same thing as being into pain or a lingering death, if I was going to do it I wanted it instant’ (175-176)

A skilful orator, when he wishes to stimulate warlike feeling, produces in his audience two layers of belief: a superficial layer, in which the power of the enemy is magnified so as to make great courage seem necessary, and a deeper layer, in which there is a firm conviction of victory. Both are embodied in such a slogan as ‘right will prevail over might’.

Perhaps Aristotle’s most widely-read work is his esoteric treatise on aesthetics, the Poetics. According to his analysis of tragic poetry (a section on comedy was either lost or never completed), the theatrical audience experiences katharsis (“purgation”) of the heightened emotions of pity and fear as the tragic hero, a basically good but flawed aristocrat, is brought down by his own “error of judgment.

Outside of the dreary rubbish that is churned out by god knows how many hacks of varying degrees of talent, the novel is, it seems to me, a very special and rarefied kind of literary form, and was, for a brief moment only, wide-ranging in its sociocultural influence. For the most part, it has always been an acquired taste and it asks a good deal from its audience. Our great contemporary problem is in separating that which is really serious from that which is either frivolously and fashionably "radical" and that which is a kind of literary analogy to the Letterman show. It's not that there is pop culture around, it's that so few people can see the difference between it and high culture, if you will. Morton Feldman is not Stephen Sondheim. The latter is a wonderful what-he-is, but he is not what-he-is-not. To pretend that he is is to insult Feldman and embarrass Sondheim, to enact a process of homogenization that is something like pretending that David Mamet, say, breathes the same air as Samuel Beckett. People used to understand that there is, at any given time, a handful of superb writers or painters or whatever--and then there are all the rest. Nothing wrong with that. But it now makes people very uncomfortable, very edgy, as if the very idea of a Matisse or a Charles Ives or a Thelonious Monk is an affront to the notion of "ain't everything just great!" We have the spectacle of perfectly nice, respectable, harmless writers, etc., being accorded the status of important artists...Essentially the serious novelist should do what s/he can do and simply forgo the idea of a substantial audience.

In talks I was doing on racial justice, I began talking about the United States’ three racialized holocausts: the large-scale death and destruction of cultures that resulted from the genocide of indigenous people on which the country was founded; the African slave trade that was central to the country’s emergence as an industrial power; and the post-WWII assault on the developing world that secured the country’s dominance in the contemporary world. Millions died in these projects, in which hideous levels of violence to expand one group’s wealth and power were justified, overtly or covertly, by the alleged racial superiority of whites. Some people were turned off, objecting that my language was too strong, but many more found the bluntness refreshing and told me the framework was helpful. These experiences taught me that watering down analysis and language to reach the largest possible audience often backfired—people who disagree aren’t persuaded, and those looking for a compelling argument tend to drift away.

Careful analysis of this scene reveals that all of the teenagers behind Halliday are actually extras from various John Hughes teen films who have been digitally cut-and-pasted into the video. † His surroundings are actually from a scene in the 1989 film Heathers. Halliday appears to have digitally re-created the funeral parlor set and then inserted himself into it. ‡ High-resolution scrutiny reveals that both quarters were minted in 1984. § The mourners are actually all actors and extras from the same funeral scene in Heathers. Winona Ryder and Christian Slater are clearly visible in the audience, sitting near the back.

Now everyone knows that to try to say something in the mainstream Western media that is critical of U.S. policy or Israel is extremely difficult; conversely, to say things that are hostile to the Arabs as a people and culture, or Islam as a religion, is laughably easy. For in effect there is a cultural war between spokespersons for the West and those of the Muslim and Arab world. In so inflamed a situation, the hardest thing to do as an intellectual is to be critical, to refuse to adopt a rhetorical style that is the verbal equivalent of carpet-bombing, and to focus instead on those issues like U.S. support for unpopular client re­gimes, which for a person writing in the U.S. are somewhat more likely to be affected by critical discussion. Of course, on the other hand, there is a virtual cer­tainty of getting an audience if as an Arab intellectual you passionately, even slavishly support U.S. policy, you attack its critics, and if they happen to be Arabs, you invent evi­dence to show their villainy; if they are American you confect stories and situations that prove their duplicity; you spin out stories concerning Arabs and Muslims that have the effect of defaming their tradition, defacing their history, accentuating their weaknesses, of which of course there are plenty. Above all, you attack the officially ap­ proved enemies-Saddam Hussein, Baathism, Arab na­tionalism, the Palestinian movement, Arab views of Israel. And of course this earns you the expected accolades: you are characterized as courageous, you are outspoken and passionate, and on and on. The new god of course is the West. Arabs, you say, should try to be more like the West, should regard the West as a source and a reference point. · Gone is the history of what the West actually did. Gone are the Gulf War's destructive results. We Arabs and Mus­lims are the sick ones, our problems are our own, totally self-inflicted. A number of things stand out about these kinds of performance. In the first place, there is no universalism here at all. Because you serve a god uncritically, all the devils are always on the other side: this was as true when you were a Trotskyist as it i's now when you are a recanting former Trotskyist. You do not think of politics in terms of interrelationships or of common histories such as, for instance, the long and complicated dynamic that has bound the Arabs and Muslims to the West and vice versa. Real intellectual analysis forbids calling one side innocent, the other evil. Indeed the notion of a side is, where cultures are at issue, highly problematic, since most cultures aren't watertight little packages, all homogenous, and all either good or evil. But if your eye is on your patron, you cannot think as an intellectual, but only as a disciple or acolyte. In the back of your mind there is the thought that you must please and not displease.

Nevertheless, for the most part the intangible dangers of being observed by unintended audiences are considered secondary to the convenience of instantaneous access to this “virtual campfire” from the comfort of the home. While online social networking sites are often disparaged as poor replacements for human interaction that encourage superficial relationships, my ethnographic analysis reveals how some people, American youth in particular, are incorporating this medium into their everyday practices in more or less meaningful ways. Through elucidating both the dangers and possibilities of this medium, I seek to encourage people to create their own “virtual campfires” as a supplement to, rather than a replacement of, their offline lives. Through participation and sharing in meaningful ways- from conversation to creating art- we might begin to see these sites as vehicles for healing the widely-felt loss of community and the pervasive sense of alienation experienced by so many.

In the opinion of the A. C. Nielsen Company, the ideal radio research service must: 1. Measure the entertainment value of the program (probably best indicated by the size of the audience, bearing in mind the scope of the broadcasting facilities). 2. Measure the sales effectiveness of the program. 3. Cover the entire radio audience; that is: a. All geographical sections. b. All sizes of cities. c. Farms. d. All income classes. e. All occupations. f. All races. g. All sizes of family. h. Telephone and non-telephone homes, etc., etc. 4. Sample each of the foregoing sections of the audience in its proper portion; that is, there must be scientific, controlled sampling — not wholly random sampling. 5. Cover a sufficiently large sample to give reliable results. 6. Cover all types of programs. 7. Cover all hours of the day. 8. Permit complete analysis of each program; for example: a. Variations in audience size at each instant during the broadcast. b. Average duration of listening. c. Detection of entertainment features or commercials which cause gain or loss of audience. d. Audience turnover from day to day or week to week, etc., etc. 9. Reveal the true popularity and listening areas of each station and each network; that is, furnish an "Audit Bureau of Circulations" for radio. A study was made by A. C. Nielson Company of all possible methods of meeting these specifications. After careful investigation, they decided to use a graphic recording instrument known as the "audimeter" for accurately measuring radio listening. . . . The audimeter is installed in radio receivers in homes.

The president fundamentally wants to be liked” was Katie Walsh’s analysis. “He just fundamentally needs to be liked so badly that it’s always … everything is a struggle for him.” This translated into a constant need to win something—anything. Equally important, it was essential that he look like a winner. Of course, trying to win without consideration, plan, or clear goals had, in the course of the administration’s first nine months, resulted in almost nothing but losses. At the same time, confounding all political logic, that lack of a plan, that impulsivity, that apparent joie de guerre, had helped create the disruptiveness that seemed to so joyously shatter the status quo for so many. But now, Bannon thought, that novelty was finally wearing off. For Bannon, the Strange-Moore race had been a test of the Trump cult of personality. Certainly Trump continued to believe that people were following him, that he was the movement—and that his support was worth 8 to 10 points in any race. Bannon had decided to test this thesis and to do it as dramatically as possible. All told, the Senate Republican leadership and others spent $ 32 million on Strange’s campaign, while Moore’s campaign spent $ 2 million. Trump, though aware of Strange’s deep polling deficit, had agreed to extend his support in a personal trip. But his appearance in Huntsville, Alabama, on September 22, before a Trump-size crowd, was a political flatliner. It was a full-on Trump speech, ninety minutes of rambling and improvisation—the wall would be built (now it was a see-through wall), Russian interference in the U.S. election was a hoax, he would fire anybody on his cabinet who supported Moore. But, while his base turned out en masse, still drawn to Trump the novelty, his cheerleading for Luther Strange drew at best a muted response. As the crowd became restless, the event threatened to become a hopeless embarrassment. Reading his audience and desperate to find a way out, Trump suddenly threw out a line about Colin Kaepernick taking to his knee while the national anthem played at a National Football League game. The line got a standing ovation. The president thereupon promptly abandoned Luther Strange for the rest of the speech. Likewise, for the next week he continued to whip the NFL. Pay no attention to Strange’s resounding defeat five days after the event in Huntsville. Ignore the size and scale of Trump’s rejection and the Moore-Bannon triumph, with its hint of new disruptions to come. Now Trump had a new topic, and a winning one: the Knee.

Faced with armed men and women and stuck in theater seats while things exploded right outside, the audience tended more toward terror than analysis.

Objectively hammering out a grim list of chronological facts with a dispassionate voice is a Scribner’s task; writing the story of a person’s own life calls for one to see the icon that lies behind deluge of facts. No raw truths will ever be discerned must less shared by the storyteller to an audience of soul brothers in absence of the author’s resolute effort to shape the pliable clay of human discord, anguish, and incomprehensible wanting into a decipherable fable while aiming to distill moral truths. There can be no story told without psychological investigation. Storytelling includes granting oneself leave to engage in subjective digressions, selection, and prioritizing. We only find important parts of our self, if we engross in thoughtful rumination, explication, and analysis. We cannot make sense of what we discover in absence of attempted identification and positing resolution of conflicts that ongoing quarrels encumbers our conceptual inventory with stabs of guilt and slices of self-loathing. The best told stories lead to therapeutic application of liberal dosages of a healing balm spiced with strokes of thematic juxtapositions and catholic combinations.

KIRKUS REVIEWS BOOK REVIEW A retired professor explores the life and writings of Carl Sandburg in this debut book. “During the first half of the twentieth century,” Quinley writes, “Carl Sandburg seemed to be everywhere and do everything.” Though best known for his Pulitzer Prize–winning poetry and multivolume biography of Abraham Lincoln, Sandburg had a wide-ranging career as a public intellectual, which included stints in journalism as a columnist and investigative reporter, in musicology as a leading advocate and performer of folk music, and in the nascent movie industry as a consultant and film critic. He also dabbled in political activism, children’s literature, and novels. Not only does Quinley, a retired college administrator and professor, hail Sandburg as a 20th-century icon (“If my grandpa asks you a question,” his grandchildren joke, “the answer is always Carl Sandburg”), but much of his own life has been adjacent to that of the poet as well. Born in Maywood, Illinois, a “few blocks” from Sandburg’s home 30 years prior, Quinley would eventually move to the Appalachian Mountains. He lived just a few miles from Sandburg’s famed residence in Hendersonville, North Carolina. As a docent for the Carl Sandburg Home National Historic Site, the author was often asked for literature about the luminary’s life. And though much has been written about Sandburg, biographies on the iconoclast are either out of print or are tomes with more than 800 pages. Eschewing comprehensiveness for brevity, Quinley seeks to fill this void in the literary world by offering readers a short introduction to Sandburg’s life and writings. At just 122 pages, this accessible book packs a solid punch, providing readers with not just the highlights of Sandburg’s life, but also a sophisticated analysis of his passions, poetry, and influence on American culture. This engaging approach that’s tailored to a general audience is complemented by an ample assortment of historical photographs. And while its hagiographic tone may annoy some readers, this slim volume is backed by more than 260 endnotes and delivers an extensive bibliography for readers interested in learning more about the 20th century’s “voice of America.” A well-written, concise examination of a literary legend Kirkus Indie, Kirkus Media LLC, 2600 Via Fortuna Suite 130 Austin, TX 78746 indie@kirkusreviews.com

D. Donovan, Senior Reviewer, Midwest Book Review writes: "Sea Creatures and Poems: Plus Some Other Fish Rhymes illustrates the fun that poetry can embrace, providing a zany collection for all ages that is both ocean-focused and whimsical. The operative description for both poems and pictures is "silly," and the book fulfills this promise with a series of engaging observations that belay the usual staid approaches of too many poetry books. Art combined with poetry is "a delicious combination," as Richard Merritts reflects in the collection's introduction. The poems inspired the author to add illustrations which are just as whimsically touched...and, also, quite artistically rendered. These aren't demanding works. Take "Pompano Pompano Pompano," for example. Its very short observation concludes with an ironic twist after identifying the "flat fish from Florida" outside of its normal sea environment. Succinct? Yes. But the poem really...snags readers, landing a winning insight on both the pompano and its ultimate fate. Readers trawling for humor will find plenty in this book. Even the poetry titles present original, fun observations, as in "By Jove, I Hooked a Snook." Aside from its delightful observations, the poems represent diverse structures, from free verse to rhyme: "From the depths of the sea;/Came a fish that could be;/From a prison did flee;/Dressed in stripes, so you see..." From redfish and ahi to the anglers who long for them, Sea Creatures and Poems will appeal to a wide audience, especially those who do not view poetry as an opportunity for philosophical and psychological analysis alone. Its blend of natural history info, inviting color illustrations, and accompanying fun insights is recommended for those who fish to those who enjoy eating or studying them, as well as poetry lovers who will appreciate the very different approaches, poetic variety, and whimsical inspections within. Libraries catering to these audiences will want to include it in their collections, but Sea Creatures and Poems will prove a delightful choice for adults who seek to instill in the young an appreciation for poetry's capability for fun and its diverse structural representations.

The formative stage is treacherous and the subject of much study and analysis by management experts. Notably, as previously mentioned, consultant Geoffrey Moore coined the term “crossing the chasm” back in 1991 to describe the unique challenges and activities associated with this phase of a start‐up's evolution. Lots of companies make it far enough to attract some early adopters, and they have enough funding to pursue a much bigger market. But then they fall into the chasm between appealing to a narrow niche audience and building a large and sustainable customer base.

Jeff and I often discussed ways to improve the S-Team meetings. Shortly after a particularly difficult presentation in early 2004, we had some downtime on a business flight (no Wi-Fi yet on planes), so we read and discussed an essay called “The Cognitive Style of PowerPoint: Pitching Out Corrupts Within,” by Edward Tufte, a Yale professor who is an authority on the visualization of information.1 Tufte identified in one sentence the problem we’d been experiencing: “As analysis becomes more causal, multivariate, comparative, evidence based, and resolution-intense,” he writes, “the more damaging the bullet list becomes.” That description fit our discussions at the S-Team meetings: complex, interconnected, requiring plenty of information to explore, with greater and greater consequences connected to decisions. Such analysis is not well served by a linear progression of slides that makes it difficult to refer one idea to another, sparsely worded bits of text that don’t fully express an idea, and visual effects that are more distracting than enlightening. Rather than making things clear and simple, PowerPoint can strip the discussion of important nuance. In our meetings, even when a presenter included supporting information in the notes or accompanying audio, the PowerPoint presentation was never enough. Besides, the Amazon audience of tightly scheduled, experienced executives was eager to get to the heart of the matter as quickly as possible. They would pepper the presenter with questions and push to get to the punch line, regardless of the flow of slides. Sometimes the questions did not serve to clarify a point or move the presentation along but would instead lead the entire group away from the main argument. Or some questions might be premature and would be answered in a later slide, thus forcing the presenter to go over the same ground twice.

Fortunately, Marhsall found an eager audience in fellow intellectual Ikle, who recognized at once that ONA's analysis and prescriptions for the Cold War reinforced Reagan's intuitions. Together Ikle and Marshall pressed the military services to build budget plans around 'exploiting opportunities to impose disproportionate costs on the USSE over the long term.' This was Marshall's concept of 'Competitive strategies', which 'depended on identifying areas of comparative US advantage and using them to exploit areas of comparative Soviet weakness or disadvantage.

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Audience analysis is also the most formidable work of the local pastor.

Just because the pastors have preached hundreds of sermons in one place does not give them the liberty of skipping the work of audience analysis for even one single Sunday.

the more famous an expert was, the less accurate he was. That’s not because editors, producers, and the public go looking for bad forecasters. They go looking for hedgehogs, who just happen to be bad forecasters. Animated by a Big Idea, hedgehogs tell tight, simple, clear stories that grab and hold audiences. As anyone who has done media training knows, the first rule is “keep it simple, stupid.” Better still, hedgehogs are confident. With their one-perspective analysis, hedgehogs can pile up reasons why they are right—“furthermore,” “moreover”—without considering other perspectives and the pesky doubts and caveats they raise. And so, as EPJ showed, hedgehogs are likelier to say something definitely will or won’t happen. For many audiences, that’s satisfying. People tend to find uncertainty disturbing and “maybe” underscores uncertainty with a bright red crayon. The simplicity and confidence of the hedgehog impairs foresight, but it calms nerves—which is good for the careers of hedgehogs. Foxes don’t fare so well in the media. They’re less confident, less likely to say something is “certain” or “impossible,” and are likelier to settle on shades of “maybe.” And their stories are complex, full of “howevers” and “on the other hands,” because they look at problems one way, then another, and another. This aggregation of many perspectives is bad TV. But it’s good forecasting. Indeed, it’s essential.

two entertainers got together to create a 90-minute television special. They had no experience writing for the medium and quickly ran out of material, so they shifted their concept to a half-hour weekly show. When they submitted their script, most of the network executives didn’t like it or didn’t get it. One of the actors involved in the program described it as a “glorious mess.” After filming the pilot, it was time for an audience test. The one hundred viewers who were assembled in Los Angeles to discuss the strengths and weaknesses of the show dismissed it as a dismal failure. One put it bluntly: “He’s just a loser, who’d want to watch this guy?” After about six hundred additional people were shown the pilot in four different cities, the summary report concluded: “No segment of the audience was eager to watch the show again.” The performance was rated weak. The pilot episode squeaked onto the airwaves, and as expected, it wasn’t a hit. Between that and the negative audience tests, the show should have been toast. But one executive campaigned to have four more episodes made. They didn’t go live until nearly a year after the pilot, and again, they failed to gain a devoted following. With the clock winding down, the network ordered half a season as replacement for a canceled show, but by then one of the writers was ready to walk away: he didn’t have any more ideas. It’s a good thing he changed his mind. Over the next decade, the show dominated the Nielsen ratings and brought in over $1 billion in revenues. It became the most popular TV series in America, and TV Guide named it the greatest program of all time. If you’ve ever complained about a close talker, accused a partygoer of double-dipping a chip, uttered the disclaimer “Not that there’s anything wrong with that,” or rejected someone by saying “No soup for you,” you’re using phrases coined on the show. Why did network executives have so little faith in Seinfeld? When we bemoan the lack of originality in the world, we blame it on the absence of creativity. If only people could generate more novel ideas, we’d all be better off. But in reality, the biggest barrier to originality is not idea generation—it’s idea selection. In one analysis, when over two hundred people dreamed up more than a thousand ideas for new ventures and products, 87 percent were completely unique. Our companies, communities, and countries don’t necessarily suffer from a shortage of novel ideas. They’re constrained by a shortage of people who excel at choosing the right novel ideas. The Segway was a false positive: it was forecast as a hit but turned out to be a miss. Seinfeld was a false negative: it was expected to fail but ultimately flourished.

FUNCTIONAL SAFETY AS PER IEC 61511 SIF SIS SIL TRAINING FUNCTIONAL SAFETY COURSE OBJECTIVES: The main objective of this training program is to give engineers involved in safety instrumented systems the opportunity to learn about functional safety, current applicable safety standards (IEC 61511) and their requirements. The Participants will be able to learn to follow: • Understand the basic requirements of the functional safety standards (IEC 61511) • The meaning of SIS, SIF, SIL and other functional safety terminology • Differentiate between safety functions and control functions • The role of Hazard and Risk analysis in setting SIL targets• • Create basic designs of safety instrumented systems considering architectural constraints • Different type of failures and best practices for minimizing them • Understand the effect of redundancy, diagnostics, proof test intervals, hardware fault tolerance on the SIL • The responsibility of operation and maintenance to ensure a SIF meets its SIL • How to proof test a SIF The Benefits for the Participants: At the conclusion of the training, the participants will be able to: Participate effectively in SIL determination with Risk graph, Risk matrix, and LOPA methodology Determine whether the design of a Safety Instrumented Function meets the required SIL. Select a SIF architecture that both meets the required SIL and minimizes spurious trips. Select SIF components to meet the target SIL for that SIF Target Audience: Instrument and Control Design and maintenance engineers Process Engineers Process Plant Operation Engineers Functional safety Management Engineers For Registration Email Us On techsupport@marcepinc.com or call us on 022-30210100

When we’re at the point of communicating our analysis to our audience, we really want to be in the explanatory space, meaning you have a specific thing you want to explain, a specific story you want to tell—probably about those two pearls.

Highlighting one aspect can make other things harder to see One word of warning in using preattentive attributes: when you highlight one point in your story, it can actually make other points harder to see. When you’re doing exploratory analysis, you should mostly avoid the use of preattentive attributes for this reason. When it comes to explanatory analysis, however, you should have a specific story you are communicating to your audience. Leverage preattentive attributes to help make that story visually clear.

AMT Market Research Agency in Myanmar stands as a pivotal player in the dynamic landscape of market research within the country. With a commitment to delivering unparalleled insights and strategic solutions, AMT Market Research has established itself as a trusted partner for businesses seeking to thrive in Myanmar's evolving market. This article delves into the core aspects of AMT Market Research, exploring its services, methodologies, and the significance of market research in Myanmar. Through case studies, client testimonials, and a glimpse into future trends, we uncover the depth and impact of AMT Market Research in driving success for businesses in Myanmar. Introduction to AMT Market Research Agency in Myanmar AMT Market Research is not your run-of-the-mill agency in Myanmar. With a knack for unraveling the mysteries of consumer behavior, they're the Sherlock Holmes of the market research world. Let's delve into what makes them tick. Background of AMT Market Research Founded with a passion for decoding the pulse of the market, AMT Market Research has been shaking up the industry in Myanmar. Their team of savvy researchers leaves no stone unturned in uncovering insights that drive business success. Mission and Vision of the Agency AMT Market Research's mission is simple yet powerful: to empower businesses with data-driven decisions that spark growth and innovation. Their vision? To be the go-to partner for companies looking to navigate the ever-evolving market landscape in Myanmar. Services Offered by AMT Market Research When it comes to services, AMT Market Research doesn't just dip their toes in the water—they dive in headfirst, armed with a treasure trove of strategic insights. Market Entry Strategy From market sizing to competitor analysis, AMT Market Research crafts bespoke market entry strategies that pave the way for success in Myanmar's dynamic business environment. Consumer Behavior Analysis Curious about what makes your target audience tick? AMT Market Research digs deep into the minds of consumers, decoding their preferences, habits, and aspirations to help you tailor your offerings with precision. Competitor Analysis In a market as competitive as Myanmar, staying ahead of the game is crucial. AMT Market Research's competitor analysis services provide a roadmap for outshining the competition and carving out your niche. Importance of Market Research Agency in Myanmar In the bustling landscape of Myanmar, market research isn't just a luxury—it's a necessity. Understanding the economic terrain and growth opportunities is key to thriving amidst the challenges that lie ahead. Economic Landscape of Myanmar Myanmar's economic landscape is a canvas of untapped potential and burgeoning opportunities. Market research serves as the compass that guides businesses through this vibrant yet complex terrain. Growth Opportunities and Challenges With growth opportunities aplenty, Myanmar beckons businesses with promises of success. However, navigating the challenges, be it regulatory hurdles or shifting consumer trends, requires a keen understanding of the market—enter AMT Market Research. Methodologies Utilized by AMT Market Research When it comes to research methodologies, AMT Market Research doesn't settle for the ordinary. Their toolbox is brimming with innovative techniques that paint a comprehensive picture of the market landscape. Quantitative Research Techniques Numbers don't lie, and neither do AMT Market Research's quantitative research techniques. From surveys to data analysis, they crunch the numbers to unearth patterns and trends that inform strategic decision-making. Qualitative Research Approaches

Professor Ronald Howard, director of the Decisions and Ethics Center at Stanford and the founder of decision analysis, uses countless entertaining variations of how decision bias gets exposed in the common but bothersome flat-tire situation. My favorite is his version where a guy gets a flat tire in front of a mental hospital. A patient from the hospital watches through the fence as the guy, affected by having an audience, steps on the hub cap holding the four nuts from the tire he removed, and they roll down a sewer. The guy feels angry, flustered, helpless. The patient calls through the fence, “Why don’t you remove one nut from each of the other three tires and put those three on the spare?” The guy says, “That’s a brilliant idea. What are you doing in a place like this?” The patient tells him, “I may be crazy, but I’m not stupid.

Data sources All these components give you feedback and insight into how best to configure your campaigns, although the data sources are often spread around in different places and sometimes difficult to find and interpret. Campaign types Search & Partner Dynamic Search Display Network Remarketing & Dynamic Remarketing Google Shopping for eCommerce Google Merchant Center Data feeds Google Shopping Campaigns Device selection PC / Tablets Mobiles & Smartphones Location Targets & Exclusions Country Metro State City Custom and Radius Daily Budgets Manual CPC Enhanced CPC Flexible Bidding strategies Conversion Optimizer (CPA) Return on Ad Spend (ROAS) Conversion Tracking Setup and configuration Transaction-Specific Conversion Tracking Offline Conversion import Phone call tracking - website call conversions Conversion Rates Conversion Costs Conversion Values Ad Groups Default Bids Keyword Themes Ads Ad Messaging & Demographics Creative Text & Formatting Images* Display Ad Builder* Ad Preview and Diagnosis Account, Campaign and Ad Group Ad Extensions Sitelinks Locations Calls Reviews Apps Callouts Ad Rotation & Frequency Capping Rotate Optimise for Clicks Optimise for Conversions Keywords Bids Broad Modified Broad Phrase Exact Destination urls Keyword Diagnosis User Search Queries Keyword Opportunities Negative Keywords & Match Types Shared Library Shared Budgets* Automated Rules Flexible Bid Strategies Audiences & Exclusions* Campaign Negative Keywords Display Campaign Placement Exclusions* NEW! Business Data and Ad Customizers Advanced Delivery Methods Standard Accelerated Impression Share Lost IS (Budget) Lost IS (Rank) Search Funnels Assisted Impressions & Clicks Assisted Conversions Segmentation Analysis Device performance Network performance Top vs Other position performance Dimension Analysis Days & Times Shopping Geographic User Locations & Distance Search Terms Automatic Placements* Call Details (Call Extensions) Tools Change history Keyword Planner* Display Planner* Opportunities* Scheduling & Day Parting Automated Rules Competitor Ad Auction Insights Reporting* AdWords Campaign Experiments* Browser Languages* *indicates an item not covered in this version of the book

In both instances, advocates of one culture view the other with different standards, disapproving of what they find, and expressing their disapproval by alleging harmful effects on the audience. Why they do this, why their standards differ, which standards are the right ones, and how this affects the evaluation of high and popular culture will be discussed in Chapters Two and Three.

I read the books very quickly, and might have missed something,” said Bethel, “Did Hermione give Ron a handjob?” “This is too vulgar,” said Amaryllis. “And no, she didn’t.” “It’s implied in the text,” began Valencia. “Is it?” asked Amaryllis in disbelief. Valencia huffed. “Well, you have to understand that the books were written for children, but given that sexual curiosity is completely normal in the early and late teens, their close proximity with one another, their history of dating others, then yes,” said Valencia. She folded her hands. “The lack of explicit sexual activity probably has more to do with the marketing of the books and the social mores of both the author and audience.

Unveiling London E-commerce Triumph: Decoding Data with WooCommerce Analytics In the bustling realm of London e-commerce, navigating the digital landscape requires not just intuition but informed decision-making backed by data. This is where the marriage of WooCommerce and analytics becomes a game-changer. In this exploration, we delve into the nuances of leveraging WooCommerce Analytics for e-commerce success in London. As we embark on this journey, the expertise of a dedicated woocommerce development in london adds a unique perspective, unraveling the potential of data decoding in the heart of the e-commerce landscape. Understanding the London E-commerce Scene This section emphasizes the importance of understanding the unique characteristics of the London e-commerce landscape. It underscores the need for businesses to be attuned to local market trends, consumer preferences, and the digital sophistication of the London audience to effectively leverage WooCommerce Analytics. The Role of WooCommerce Agency in London E-commerce Analytics 1. Proactive Data Strategy: Setting the Foundation This point explains the proactive role of a WooCommerce agency in London in establishing a robust data strategy. It involves setting up analytics tools, defining KPIs, and aligning data collection with the specific goals of London e-commerce businesses. 2. Tailoring Analytics to London Market Trends Here, the focus is on tailoring analytics solutions to capture and interpret data that is directly relevant to the ever-evolving market trends of London. A WooCommerce agency in London customizes analytics approaches to provide actionable insights for businesses in the local market. Key Metrics and KPIs for London E-commerce Success 3. Conversion Rate Optimization (CRO): Turning Clicks into Transactions This point explores the pivotal role of Conversion Rate Optimization (CRO) in London e-commerce. It delves into how a WooCommerce agency in London optimizes the conversion rate by refining the checkout process, analyzing user journeys, and enhancing the overall user experience to maximize sales. 4. Customer Lifetime Value (CLV): Fostering Long-Term Relationships The focus here is on the importance of Customer Lifetime Value (CLV) analytics. It explains how a WooCommerce agency in London helps businesses identify high-value customers, tailor marketing strategies, and foster long-term relationships for sustained success. WooCommerce Analytics Tools and Implementations 5. Google Analytics Integration for Comprehensive Insights This point delves into the integration of Google Analytics with WooCommerce. It explains how a WooCommerce agency in London guides businesses through the integration process, utilizing Google Analytics to gain comprehensive insights into user behavior, traffic sources, and website performance. 6. Custom Reports and Dashboards: Tailoring Insights for London Businesses Here, the emphasis is on the creation of custom reports and dashboards by a WooCommerce agency in London. These tailored insights provide businesses with specific information relevant to their products, target audience, and market trends, enhancing decision-making accuracy. Analyzing User Behavior for Enhanced User Experience 7. Heatmaps and User Flow Analysis: Optimizing the Customer Journey This point explores the use of heatmaps and user flow analysis to optimize the customer journey in London e-commerce. A WooCommerce agency in London employs these tools to uncover patterns, identify bottlenecks, and make strategic adjustments for a seamless user experience. 8. Abandoned Cart Analysis: Recovering Lost Opportunities This section discusses the significance of abandoned cart analysis. It explains how a WooCommerce agency in London utilizes analytics to understand the reasons behind cart abandonment and implements targeted strategies to recover potentially lost sales through personalized retargeting campaigns.

Email marketing services are integral to digital marketing strategies, involving the use of targeted email campaigns to engage and communicate with a specific audience. These services facilitate the creation, distribution, and analysis of email campaigns, allowing businesses to reach their audience with personalized and relevant content.

The top ten individual use cases by score across all 5Ps were as follows: 1.​Recommend highly targeted content to users in real time (3.96) 2.​Adapt audience targeting based on behavior and look-alike analysis (3.92) 3.​Measure ROI by channel, campaign, and overall (3.91) 4.​Discover insights into top-performing content and campaigns (3.86) 5.​Create data-driven content (3.82) 6.​Predict winning creatives (e.g., digital ads, landing pages, calls to action) before launch without A/B testing (3.81) 7.​Forecast campaign results based on predictive analysis (3.80) 8.​Deliver individualized content experiences across channels (3.80) 9.​Choose keywords and topic clusters for content optimization (3.78) 10.​Optimize website content for search engines (3.77)

After undertaking an entire analysis, it can be tempting to want to show your audience everything, as evidence of all of the work you did and the robustness of the analysis. Resist this urge. You are making your audience reopen all of the oysters! Concentrate on the pearls, the information your audience needs to know.

Take a moment to imagine your best decision in the last year. Now take a moment to imagine your worst decision. I’m willing to bet that your best decision preceded a good result and the worst decision preceded a bad result. That is a safe bet for me because resulting isn’t just something we do from afar. Monday Morning Quarterbacks are an easy target, as are writers and bloggers providing instant analysis to a mass audience. But, as I found out from my own experiences in poker, resulting is a routine thinking pattern that bedevils all of us. Drawing an overly tight relationship between results and decision quality affects our decisions every day, potentially with far-reaching, catastrophic consequences.

When a manager has a criminal record or a history of cheating investors or even just feels above the law, I stop right there. Crooks don’t suddenly sprout a sense of fiduciary duty. When a piece of evidence might or might not tag a bad guy, I use it only if it hints at other investment defects. Glamorous hype stocks are more likely to be scams, but I avoid them because they are usually overpriced and prone to raising capital constantly. Intricate corporate structures make analysis difficult, even if nothing bad is going on. To spot bad guys, look for the fraud triangle: pressure, opportunity, and rationalization. Philosopher Hannah Arendt had it right that “most evil is done by people who never make up their minds to be good or evil.” Watch for when massive option grants or hefty fees compel people to try too hard. Pride can be a dominant motive when an audience believes in someone’s magical powers. Charismatic promoters often suppress the boards of directors, auditors, and other naysayers that might prevent them from doing what they want. They cluster in industries and geographies where capital is abundantly available with little scrutiny or accountability. Lax accounting standards are also a draw. Don’t buy anything someone is pushing hard. By avoiding the bad-guy stocks—and it’s a short list—I slash the possibility of a disastrous outcome but scarcely reduce my opportunity set.

Another sociological approach alleged that urban and industrial leveling since the late nineteenth century had produced an atomized mass society in which purveyors of simple hatreds found a ready audience unrestrained by tradition or community. Hannah Arendt worked within this paradigm in her analysis of how the new rootless mob, detached from all social, intellectual, or moral moorings and inebriated by anti-Semitic and imperialistic passions, made possible the emergence of an unprecedented form of limitless mass-based plebiscitary dictatorship. The best empirical work on the way fascism took root, however, gives little support to this approach. Weimar German society, for example, was richly structured, and Nazism recruited by mobilizing entire organizations through carefully targeted appeals to specific interests. As the saying went, “two Germans, a discussion; three Germans, a club.” The fact that German clubs for everything from choral singing to funeral insurance were already segregated into separate socialist and nonsocialist networks facilitated the exclusion of the socialists and the Nazi takeover of the rest when Germany became deeply polarized in the early 1930s.

Almost all proposals include ten sections. They are: (1) the title page, (2) the proposal table of contents, (3) The Overview, (4) Production Details, (5) The Audience, (6) The Competitive Analysis, (7) Marketing and Promotion, (8) About the Author, (9) Table of Contents and Chapter Outline, and (10) Sample Chapter (or two). A proposal might also have an appendix with additional information. A scholar would want to provide his curriculum vitae in the appendix. A photographer would include some sample photographs. Sometimes you might use a collection of news clippings.

RBG’s image as a moderate was clinched in March 1993, in a speech she gave at New York University known as the Madison Lecture. Sweeping judicial opinions, she told the audience, packed with many of her old New York friends, were counterproductive. Popular movements and legislatures had to first spur social change, or else there would be a backlash to the courts stepping in. As case in point, RBG chose an opinion that was very personal to plenty of people listening: Roe v. Wade. The right had been aiming to overturn Roe for decades, and they’d gotten very close only months before the speech with Planned Parenthood v. Casey. Justices Anthony Kennedy, David Souter, and Sandra Day O’Connor had instead brokered a compromise, allowing states to put restrictions on abortion as long as they didn’t pose an “undue burden” on women—or ban it before viability. Neither side was thrilled, but Roe was safe, at least for the moment. Just as feminists had caught their breath, RBG declared that Roe itself was the problem. If only the court had acted more slowly, RBG said, and cut down one state law at a time the way she had gotten them to do with the jury and benefit cases. The justices could have been persuaded to build an architecture of women’s equality that could house reproductive freedom. She said the very boldness of Roe, striking down all abortion bans until viability, had “halted a political process that was moving in a reform direction and thereby, I believe, prolonged divisiveness and deferred stable settlement of the issue.” This analysis remains controversial among historians, who say the political process of abortion access had stalled before Roe. Meanwhile, the record shows that there was no overnight eruption after Roe. In 1975, two years after the decision, no senator asked Supreme Court nominee John Paul Stevens about abortion. But Republicans, some of whom had been pro-choice, soon learned that being the anti-abortion party promised gains. And even if the court had taken another path, women’s sexual liberation and autonomy might have still been profoundly unsettling. Still, RBG stuck to her guns, in the firm belief that lasting change is incremental. For the feminists and lawyers listening to her Madison Lecture, RBG’s argument felt like a betrayal. At dinner after the lecture, Burt Neuborne remembers, other feminists tore into their old friend. “They felt that Roe was so precarious, they were worried such an expression from Ruth would lead to it being overturned,” he recalls. Not long afterward, when New York senator Daniel Patrick Moynihan suggested to Clinton that RBG be elevated to the Supreme Court, the president responded, “The women are against her.” Ultimately, Erwin Griswold’s speech, with its comparison to Thurgood Marshall, helped convince Clinton otherwise. It was almost enough for RBG to forgive Griswold for everything else.

Fourth, you should lay out a road map for the rest of the speech: “I will begin by describing X, next I will argue Y, and finally I will propose Z.” This is not a time for subtlety; be direct and explicit. If you are going to use visuals to support your speech, you should spell out these three steps in an “agenda” slide. Such an explicit road map helps your audience see how the different components of your argument fit together in a logical fashion. The body of your speech should have a clear structure with a logical progression. One possible structure is: • Here’s the problem. • Here’s my analysis. • Here’s how we could solve this problem. Another possible structure might be: • Here’s an issue of current interest. • Here’s my take on this issue. • Here’s how we might rethink this issue in the future.

Seen in the light of today’s ongoing Middle East conflict, the massacre of the Qureyz in the year 627 seems to set a terrible precedent. Since faith and politics are as inextricably intertwined in today’s Middle East as they were in the seventh century, the arguments given for the massacre in the early Islamic histories are still invoked, alongside the Quran’s evident anger at Medinan Jewish rejection of Muhammad’s prophethood, to justify the ugly twin offspring of theopolitical extremism: Muslim anti-Semitism and Jewish Islamophobia. In the light of Muhammad’s political situation at the time, however, a less emotional analysis may be more to the point. The massacre of the Qureyz was indeed a demonstration of ruthlessness, but they were, in a sense, collateral damage. The real audience for this demonstration was not them but anyone else in Medina who still harbored reservations about Muhammad’s leadership. If there had been any doubt that he was dealing from a position of strength, he had now dispelled it.

The next time they invited me over for lunch, they wanted to update me on their progress. I couldn’t wait to hear how their new business was going. As soon as I got there, however, question hour resumed: “Ryan, what business should we really start?” Here we were, back to square one. They had no prototype, no audience, and no proof of concept. They’d been stuck spinning in place because they were waiting to be told what to do. What I helped them discover was that there was no perfect product or “right” business to start. Instead, there’s simply a set of decisions you need to make. Once you make these decisions, you’ll have a good shot at success. But until you make these decisions, you’ll be stuck in analysis mode forever. Again, you don’t need to know how to do anything—we’ll go into more detail on the process throughout the rest of this book. First, you must make decisions. It’s also okay to change your decisions later, but answering these questions will allow you to start to move down the path to your own million-dollar business.

Locally Andrew Baxter has spoken to audiences for the ASX, Australian Financial Review, Australian Investors Association and the Technical Analysis Association, and overseas at the highly prestigious National Achievers Congress and Irrational Economics Summit, working with more than 50,000 people worldwide.

The age of the photograph has become the age of gesture and mime and dance, as no other age has ever been. Freud and Jung built their observations on the interpretation of the languages of both individual and collective postures and gestures with respect to dreams and to the ordinary acts of everyday life. The physical and psychic gestalts, or “still” shots, with which they worked were much owing to the posture world revealed by the photograph. The photograph is just as useful for collective, as for individual, postures and gestures, whereas written and printed language is biased toward the private and individual posture. Thus, the traditional figures of rhetoric were individual postures of mind of the private speaker in relation to an audience, whereas myth and Jungian archetypes are collective postures of the mind with which the written form could not cope, any more than it could command mime and gesture. Moreover, that the photograph is quite versatile in revealing and arresting posture and structure wherever it is used, occurs in countless examples, such as the analysis of bird-flight. It was the photograph that revealed the secret of bird-flight and enabled man to take off. The photo, in arresting bird-flight, showed that it was based on a principle of wing fixity. Wing movement was seen to be for propulsion, not for flight.