#advancedmethods

The concept of ‘the sublime’ historically dates back to Burke’s 1757 Philosophical Enquiry, if not even earlier in time, and to Kant’s discussion on the term, illustrated in the first part of his Critique of Judgment, 1790. 

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While job-hopping portrayed as a negative term, its definition may no longer available in the current economy. Job hopping is defined as when someone who tends to move from company to company, and it was not viewed by human resource professional as a positivity since loyalty and longevity were the important values human resources looked for. At present, our economy is flexible, skilled and talented workers have many options. Employers are more open to contract work, outsourced work, part-time, and returning employees from maternity leave, which creates the traditional employee extinct.

Such workplace changes have also altered our perception of job-hopping, that resulting in more less of a stigma than within the past. On an average basis, we all spend less time in a job than we used to spend earlier, in fact, the average job duration in the United States is now lesser than 5 years. A drastic shift from the past 30 year’s attitude of the previous generation of workers. In addition to switching demographics and the rise of a casual workforce, the automation inside businesses has standardized the idea of moving from one particular job to another at a much quicker pace than in the past days. One potential outcome of job-hopping may eventually be the vogue activity, as the workforce may become more and more fluid. In the future, job-hopping may get a new name and the new term is given to those who choose to live their life experiencing and contributing to different companies instead of focusing on one or a two.

Employers View on Job-Hopping

Employees have a significantly more positive perspective on job-hopping. A recent survey conducted by New England district president of ‘Accountemps’, states that his company acknowledged 42% of workers in the United States thinks job-hopping can facilitate their career. However, human resource managers reveal that roughly five job changes in the tenure of 10 years can raise red flags.

One factor that may shape an employer’s view of job-hopping is the truth that a worker who chooses to leave speaks to lost speculation, which is the reason companies lean toward that representative’s wait. It takes a lot of time, resources and effort to find talented and skilled people to do great work, and when the employer finds them, they certainly do not want them to just pass through. Moreover, several short-term jobs for candidates may not be appealing to every employer, some companies appreciate the drive of job-hoppers to constantly grow and build their career, or the craving of past organizations to enlist them.

Benefits of Job-Hopping

According to our expert management, there are many benefits, including the opportunity to gain new skill-set and experiences, which can help advance an employee’s career. Benefits include the ability to take a new position with new responsibilities, and thus learn new skills to add weight to their resumes. This is most important because employees who remain in a single job for an extended period without gaining new skills or responsibilities can become complacent. Working for a long time is great, but not at the expense of building a more diverse skill set.

Moving quickly from job to job serves to quicken the time it takes for career enhancement. The more you increase your exposure to new opportunities, the more you can capitalize on those opportunities for skill-building, growth, and advancements. Compensation is one of the major advantages of job-hopping that this practice can increase a worker’s pay scale or provide an opportunity to gain more prominent responsibility in the workforce.

Competitive Employment Market

In recent years, the U.S. unemployment rate went from 5.3 percent to 4.9 percent, and the number of employed individuals rose by nearly 60 thousand (Bureau of Labor Statistics). Employers rejoice at the economic recovery the U.S. has made since the recession that erased nearly 9 million American jobs less than a decade ago. But as an employer’s view, we need to read between the lines of this data and understand what it means for better hiring practices.

Where many industries are facing significant talent gaps, a positive candidate experience can be between a company getting that new hire or one of their competitors getting the candidate. Candidates often express concern that screening seems like a mysterious behind-the-scene process over which they have no control.

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An applicant center can be employer co-branded so that it provides a consistent recruiting and onboarding experience for candidates. It can also be personalized with welcome videos that help the candidate learn more about the employer and its work culture. It is designed specifically for the mobile user and allows candidates to complete forms and upload photos or scans of documents that may be needed for the background screening, such as scholastic certificates, diplomas, or W-2’s, directly from a phone, mobile device, or a desktop. This capability is especially critical for digital natives and candidates around the world who use mobile as their primary device. Applicant Center includes intelligent design forms and dynamic help to provide extensive support for the candidate throughout the system. Since Applicant Center connects candidates directly with the background screening provider, the recruiter, hiring manager, and HR personnel do not have to manage the ongoing communication, which reduces their workload and improves efficiency, thus speeding up the entire verification process, resulting in faster time to hire rates.

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For the Advanced Research Methods seminar presentation group work, we got given the task to elaborate on the method of Art Theory. Upon meeting with our Tutor, we chose to focus our work around Conceptual Art. We split the theme into different sections, so each one of us would mention different aspects of this movement, as well as the different artists that took part or got influenced by it.

My part of the presentation was about the historical and political dimension of the movement, so i ended up picking a Chilean Art collective that went by the name of COLECTIVO ACCIONES DE ARTE (C.A.D.A.).

This collective was mainly active from 1979 to 1985, after the dictatorship that oppressed most Chilean Art from 1973 went down. Their work was mainly revolved around the dictatorship years and the effects of it on the newly democratic Chile. Their pieces were usually public displays of art or performances which the general public could participate in, and they were highly political and disruptive.

To showcase their work, I started by mentioning the history behind the collective, and the social and political situation at the time, followed by three examples of their most famous pieces : “No Mas” (), “Para no morir de hambre en el arte (Not to Die of Hunger in Art)”,and “¡Ay Sudamérica!”.

While researching for the presentation I found a lot of new information about not only Chile but other South American Countries and how conceptual art took form there. There were major similarities to the art that was coming from the US but adapted to a different way of living. This example was most clear in the second work that I analyzed, where the bottle of milk was a symbol of human rights and social necessities. This can be compared to works from American artists that used products and consumerism to make similar statements.

Being the collective active a little after conceptual art sprawled out as a movement, due to the oppression of art during the dictatorship years, is also interesting as we can see their works as responses to American Artists that pioneered conceptual art.

Overall, I think the seminar group work was very productive, as it challenged us to put together different types of artists (in our case every artist was from different nationalities) with different perspectives of what conceptual art meant as a medium for them. Furthermore, how history, social and the political situation of the artists country influenced their work. 

In Teemus lecture he mentioned how there were many women in the art movement of surrealism and for the time it will have been a lot harder for women to progress and get recognised in the male dominated field of art. Neil in a previous lectures has also discussed the work of Lee Miller, a key female figure amongst the surrealists whom collaborated with many other artists of the time.

We were doing about all the different types of abstract. I was doing an abstract of art.

Abstract photography is the view of an object where the entire shape is hidden from view.

Fine Art photography overlaps the same notion. Yet, fine art focuses on a conceptual look at a subject and its surroundings.

Fine art photography has the ability to work across many photographic themes. The photographer and their vision are more important than the photographed subject.

Abstraction can be a simple macro image without much concept or idea behind it. It is another viewpoint and perspective of an object we might know inside out.

Artists use geometric shapes to create works. The most common is the composition-oriented task. The proportions are symmetrical. This work can easily be applied to other tasks because it is simple to look and understand and inspire creative work in many ways, whether it's fashion. Architecture & Product Design 

Geometric abstract. The drawing of a geometric pattern focuses on the composition. The proportions are symmetrical or are not symmetrical, making it easy to apply to other tasks.

Free shapes abstract. This abstract art does not have a fixed element, but the artist's mind to draw the media to the viewer to interpret the meaning of the figure. It will emphasise the amazing appearance rather than geometric shapes.

Miros group - psychoanalysis as methodology

Miros group presentation on a psychoanalytical way of analysis images really stood out for me, the aspects I found most interesting were the examples of William Klein and artists from the surrealism.

Their group explained that psychoanalysis unlocked the reason why an image is taken, I thought this was a really clear and simple way of putting what I’d always thought to be a daunting topic to approach. The example of William Klein was related to Freudian theories around trauma, Klein went back to his home town to photograph it and expose it for how he saw it. He was expressing his psyche, showing how he saw the world he grow up in. Revisiting his home town and exploring his psyche also acted as a meditative process, much like the work of Jo spence mentioned in a previous blog post. Both examples are using photography to cope and make sense of whats going on in their brains.