Vintage visual
An RTE (release train engineer) operates at the program level, coordinating multiple teams within an ART (Agile release train) and focusing on overall program success. In contrast, the Scrum master works at the team level, guiding a single Agile team in Scrum practices https://penfieldcap.com. RTEs are involved in higher-level decision-making and strategic initiatives across the entire ART, whereas Scrum masters concentrate on team-level decisions. Additionally, RTEs handle conflicts and issues spanning multiple teams, while Scrum masters primarily deal with conflicts within their specific team.
By leveraging the power of ART, software development organizations can enhance team collaboration, break down silos, and streamline processes. This ultimately leads to improved productivity, higher quality software, and increased customer satisfaction.
As a product manager, it is your responsibility to not only to set the long-term strategy and vision for the team, but to also correlate that to the work the team is going to be undertaking as part of the ART team. In essence, it’s to prioritize and ensure that the team is working on the most valuable thing during the two-week sprint cycle that brings a valuable outcome for your customers and the company as a whole.
Empire of the Sun artwork
It may seem odd that these great works of art and literature took so long to emerge from the aftermath of the events they concern. But many of the most complex and considered accounts of conflict have taken their time. To Vonnegut’s painfully slow response to the war, for example, we might add Joseph Heller’s brilliantly satirical Catch-22, published in 1961, and, even more significantly, JG Ballard’s memorial masterpiece Empire of the Sun, which did not see the light of day until 1984.
Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He curates Art Blart, art and cultural memory archive, which posts mainly photography exhibitions from around the world. He holds a Doctor of Philosophy from RMIT University, Melbourne, Master of Arts (Fine Art Photography) from RMIT University, and Master of Art Curatorship from the University of Melbourne.
These works led me to attempt to create this photographic book, using the notion of the map as a clue to the future and to question the whereabouts of my spirit. Discarded memorial photographs, a farewell note, kamikaze pilots – the illusions of various maps that emerge are to me like a discussion with the devil. The stains are situated as a key image of the series by drawing a future stratum and sealing the history, the nationality, the fear and anxiety of destruction and prosperity. It was almost a metaphor for the growth and the fall.
The exhibition is staged to coincide with the 2014 centenary and concludes with new and recent projects by British, German, Polish and Syrian photographers which reflect on the First World War a century after it began.”
It’s through this historical lens that Ms. Ractliffe views landscape: as morally neutral terrain rendered uninhabitable by terrible facts from the past – the grave of hundreds of Namibia refugees, most of them children, killed in an air raid; the unknown numbers of land mines buried in Angola’s soil. Some are now decades old but can still detonate, so the killing goes on.”
Conflict, Time, Photography is curated at Tate Modern by Simon Baker, Curator of Photography and International Art, with Shoair Mavlian, Assistant Curator, and Professor David Mellor, University of Sussex. It is organised by Tate Modern in association with the Museum Folkwang, Essen and the Staatliche Kunstsammlungen, Dresden, where it will tour in spring and summer 2015 respectively. The exhibition is also accompanied by a fully-illustrated catalogue from Tate Publishing and a programme of talks, events and film screenings at Tate Modern.
Film graphic
Technological advancements, such as digital design and CGI, revolutionized the industry, enabling designers to create realistic and mesmerizing visual effects. Graphic design’s influence extended beyond titles, permeating set design, props, costumes, and marketing materials, resulting in a cohesive visual experience that enhances storytelling.
Film and television are visual mediums, which at the most basic level means that almost everything that happens in front of the camera (unless it’s removed in post) is meant to be seen. The director, cinematographer, and editor unite to play the role of the Wizard, putting on a show and distracting the audience from all of the pieces behind the curtain that keep Oz afloat.
“To be a member, you have to have two film credits, which makes it a little difficult for newbies to get access,” Mina says. “However, if you’ve just graduated and you’re interested, you can request to add a post, which will go all the members.
Some shows are very, very research-intensive. Period pieces for example, where recreating that world is paramount. Other shows will use limited research to guide a style for a specific location or set. We have to create a convincing environment for the actors to work in, so knowing what big and little details will help the audience suspend disbelief and keep the focus where it needs to be: the story being told.
“And we are actually planning to do some of our own workshops in the next six months as a result of constantly meeting people who don’t know how to take their graduate skills to the next step. The idea is to run some weekend workshops in the coming months, based in London, for small groups looking to develop their graphic design in film skills.
