Comprehensive Analysis Methodology for Business Planning

This chapter uses the normative research methodology to review the literature for business research and analysis to search for a set of tools that can provide a comprehensive analysis methodology. The investigation of competitive advantage follows the dynamic capability of the subjective approach to the resource-based view (RBV). This view needs to establish the current position of the company's resources in the context of the surrounding environment to develop a clear understanding of the current competitive status of the organisation. The best practice of suggestions from the literature will be gathered into a proposal for a systematic research and analysis methodology governed by an information policy. A formal information project is suggested to collect and store the required information and to use a formalized set of visualization tools to provide an evolving holistic picture of the information leading to the architectural blueprint.

Subjectiveness as a basis for the manifestation of spiritual capacities

The concept of the subject and the concept of the subjectiveness in the Russian psychological science are examined in the article. The purpose of the study is to consider the concepts “the subject” and “the subjectiveness” and to show the possibility of interpreting the subjectiveness as the basis for the manifestation of spiritual capacities. The definitions of these concepts, the characteristics of the subject and the subjectiveness are given, analysed from the point of view of their significance for the manifestation of spiritual capacities. The subject’s qualities, distinguished by different researchers, the subject's capacities are described, criteria which allow to determine, whether a person manifests itself as a subject, are given. The approaches for the investigation of the subject are noted; the importance of the system-subjective approach for understanding and studying spiritual capacities is emphasised. The analysis of the concepts of the subject and the subjectiveness made it possible to conclude that the most general characteristics of the subject and the subjectiveness include: activity, integrity, sociality, value, uniqueness, self-development, awareness, freedom of choice and responsibility. These characteristics of the subjectiveness are decisive for the manifestation of spiritual capacities. A person acting as a subject, mobilising its subjective qualities, creates the possibility for the actualisation of spiritual capacities, their development and fruitful implementation in life.

Insight into a Personalized Procedure of Design in Concept Generation by the Students in Architecture Thesis Projects

This paper analyses the predominant trend between the students to follow, frame, and develop a concept in the architectural thesis design. The research targets to question how the students derive their inspiration from diverse sources and influencers into the architectural design concept. The research methodology was based on semi-structured questionnaires with Likert scale questions to analyse and interpret data through the Chi-Square test in SPSS software. The findings revealed that first, the students preferred to employ more symbolic and poetic elements for the design than real projects, second, to create their concepts under influences of supervisors and juries than research, third, to follow personal procedure than the structured process of the course. In conclusion, the results revealed that the students adopted a personal procedure under the influences of the supervisors to design a concept that is closely aligned with a subjective approach, rather than a structured research process.

IS THE NECESSITY ASSESSMENT AT THE INSTITUTE OF HARMFUL RECOVERY?

The article of one of the most prominent contemporary representatives of “bewegliches System” conception of private law regulation provides a thorough examination of factors influencing the leading approachs to assessment of fault in german speaking jurisdictions. The author comes to conclusion that unconditional adherence to unified (either subjective or objective) approach shall not attend to the ends pursued by particular intitutions aggregated under the name of civil liability, whereas the ethically underpinned concept of liability requires subjective approach as a general rule for noncontractual liability.

Сriterion of creativity (originality) as a condition of protectability of subject matter of copyright

In the article, the author considers the question of the criterion of creativity (originality) as a condition of protectability of subject matter of copyright. It is indicated that the current civil legislation does not provide an understanding of the creative activity (originality) of the work. At the same time, the case law is based on the principle that the creative component in subject matter of copyright is presumed. Nevertheless, the question of the creative nature of the work may arise in the event of a dispute. In addition, an understanding of the criterion of creativity is necessary during the examination process. The criterion of creativity (originality) of the work is analyzed from the point of view of the subjective approach – through the prism of expression of the author's individuality, the reflection of his personality, and objective approach, which is based on the presence of objective novelty. The author concludes that today the majority in both scientific circles and actually in the judicial practice of disclosing the criterion of creativity is carried out through the subjective approach. The signs are given in the presence of which we can assume that the work has a creative (original) nature. It is noted that in order to recognize a work as original, there is no need for the form of expression to be absolutely original, and to have any features of previously created works (for example, citations, etc.), but only a certain level of creative individuality of the author in the work is enough. The question of determining the level of originality of the form of expression of the work is analyzed, namely, what should be the minimum component of originality in order to recognize the existence of a creative nature and extend to the work the regime of copyright protection. It is indicated that in each case, for different types of works, the assessment of the originality of the work is different and is determined for each work separately, taking into account its features. The study of the criterion of creativity (originality) is carried out based on a thorough and comprehensive analysis of legislation, case law, and scientific opinion that has formed on this issue. Based on the analysis of the criterion of creativity (originality) as a condition of protectability of subject matter of copyright, conclusions are made.

THEORY OF OBJECTIVE FORMATION IN DESIGN PRODUCTS SEWING VIROBIV

Theory of objective shaping in the design of garments. Modern methods of designing garments are considered. It is determined that the current areas are: particular features of modeling, which take into account the dynamics of dimensional features; methods of two- and three-dimensional design with an attempt to take into account anthropometric features and features of sewing materials. The disadvantages of the subjective approach according to the methods of approximate design are pointed out The new scientific direction of objective shaping in clothing design with the corresponding theory with criterion complex dependences which allow to carry out objective controllability of process of shaping and the forecast of qualitative indicators is proved. An example of shells with pre-deformed and bent section and their criterion dependence is given.

To know as you draw: Exploring the city through drawing

Standing apart from traditional illustration city illustrations are interpretations by illustrators that take urban space as their primary source. The practice of drawing in the city, what I call drawing in situ, is part of a methodology to construct city illustrations that aims to know as you go carrying out a performance that is not premeditated before departure but discovered along the way. These illustrated cities work as mediators between the physical city and the illustrator’s imagination striving to present alternative perspectives about urban space. In this paper, I reflect on how subjective approach and embodied experience in the city emphasize the illustrator’s skills to contemplate, understand, and synthesize the city in one or a series of drawings. The results from drawing in situ become an extension of the illustrator’s body: intimately connected to movement and the direct experience of urban space. Far from simplifying the depiction of the city, the artistic practice as research explores the dynamics between different urban dimensions (architecture, moods, people, and stories) employing the artistic techniques better suited to expressively represent the illustrator’s encounter with the surrounding environment. My artistic practice as research, here presented, regards the different ways in which the dynamics of the city enhance, complement, or contradict urban perception and the understanding of urban space by the illustrator. It shows that the practice of drawing in situ is simultaneously engaging with and describing the city, experiencing, and learning through movement and creation. The drawing ability of the illustrator appears as a skilful way to disturb the usual perceptions of the cities focusing on the entanglements of lived experience in which the illustrator also takes part.