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2022 ◽  
Vol 14 (2) ◽  
pp. 953
Author(s):  
Xueying Huang ◽  
Yuanjun Han ◽  
Qiuli Meng ◽  
Xiaoxia Zeng ◽  
Huilan Liao

Even though destination image is an important expression of discovering the local landscapes and place significance, the construction and measurement of destination image neglect the place component. This research explores the image of health destinations, as well as its representation mechanism, combining the triadic structure of tourism image proposed by Marine-Roig et al. with the theory of discourse power put forward by Michel Foucault, taking Bama, Guangxi as a case. In addition, this paper uses the IPA matrix to visually unveil the pronounced gap between the projected image by Destination Management Organizations (DMOs) and the perceived image of tourists and suggests strategies that DMOs should adopt in the different dimensions.


Author(s):  
Unai Arzubiaga ◽  
Alfredo De Massis ◽  
Amaia Maseda ◽  
Txomin Iturralde

AbstractThis study investigates whether a projected family firm image can affect access to financial resources, which is key to providing broader strategic options and meeting short-term financial needs, especially for small and medium-sized enterprises (SMEs). Building on the signaling literature, we consider the family SME leaders’ perspective and conceptually and empirically examine whether they believe a projected family firm image acts as a credible signal to the lender. We also examine additional boundary conditions influencing the family SME’s projected image–access to financial resources relationship, by specifically investigating whether firm age and size alter the degree of the signaling effect. Our unique data on 289 Spanish family SMEs reveal that projected family firm image can act as an attractive signal to lenders, leading to better access to financial resources for SMEs. Furthermore, firm size reinforces the role of the projected family firm image as a positive signal. These findings address an important practical issue in terms of family firm stakeholder perceptions, offering contributions to the corporate branding, family business, and financing literature.


Author(s):  
Roman Egger ◽  
Oguzcan Gumus ◽  
Elza Kaiumova ◽  
Richard Mükisch ◽  
Veronika Surkic

AbstractSocial media plays a key role in shaping the image of a destination. Although recent research has investigated factors influencing online users’ perception towards destination image, limited studies encompass and compare social media content shared by tourists and destination management organisations (DMOs) at the same time. This paper aims to determine whether the projected image of DMOs corresponds with the destination image perceived by tourists. By taking the Austrian Alpine resort Saalbach-Hinterglemm as a case, a netnographic approach was applied to analyse the visual and textual posts of DMO and user-generated content (UGC) on Instagram using machine learning. The findings reveal themes that are not covered in the posts published by marketers but do appear in UGC. This study adds to the existing literature by providing a deeper insight into destination image formation and uses a qualitative approach to assess destination brand image. It further highlights practical implications for the industry regarding DMOs’ social media marketing strategy.


Anatolia ◽  
2021 ◽  
pp. 1-19
Author(s):  
Abolfazl Siyamiyan Gorji ◽  
Fernando Almeida-García ◽  
Pere Mercadé Melé

2021 ◽  
Author(s):  
◽  
Gabrielle Gill

<p>This research operates at the nexus between actual and virtual space. In interior architecture we can use tools to produce virtual experience, being immersed in a world or space different to your physical location. These tools can include, but are not limited to, actual materials, forms, spaces, and arrangements. Virtual space is described as the non-material spatial experience. This experience disconnects us from the physical actual environment that we live in. The best example of this is that of a cinematic experience. When we watch a film in a cinema, the actual physical environment we usually occupy is re-contextualised through a lack of light; our focus is then given to the light and movement produced by the projected image where we become encapsulated by this sense of virtual that we cannot control. We experience a sense of space different to our own and occupy this space although it remains less tangible than the physical world we live in.   This thesis proposes a redesign to the public areas for the site of — Ngā Taonga Sound and Vision in Wellington. Currently, the only access the public has to the collection is through digital means, a small cinema and collection of computers in the media library. This project aims to create engaging, embodied encounters with the digital collection of Ngā Taonga Sound and Vision through a series of interior installations within the site. These installations extend the virtual interior created by the sound and moving images further into the boundaries of the actual, physical interior.   The exhibition spaces of Ngā Taonga Sound and Vision offer a rich testing site, and provokes the question, how can we create more immersive, engaging encounters of the incredible films collected by Ngā Taonga? The purpose of an archive is to preserve the past for future generations. Although the site currently allows some opportunities for the public to access the collection, it lacks a sense of immersion that can be explored through interior architecture interventions.</p>


2021 ◽  
Author(s):  
◽  
Gabrielle Gill

<p>This research operates at the nexus between actual and virtual space. In interior architecture we can use tools to produce virtual experience, being immersed in a world or space different to your physical location. These tools can include, but are not limited to, actual materials, forms, spaces, and arrangements. Virtual space is described as the non-material spatial experience. This experience disconnects us from the physical actual environment that we live in. The best example of this is that of a cinematic experience. When we watch a film in a cinema, the actual physical environment we usually occupy is re-contextualised through a lack of light; our focus is then given to the light and movement produced by the projected image where we become encapsulated by this sense of virtual that we cannot control. We experience a sense of space different to our own and occupy this space although it remains less tangible than the physical world we live in.   This thesis proposes a redesign to the public areas for the site of — Ngā Taonga Sound and Vision in Wellington. Currently, the only access the public has to the collection is through digital means, a small cinema and collection of computers in the media library. This project aims to create engaging, embodied encounters with the digital collection of Ngā Taonga Sound and Vision through a series of interior installations within the site. These installations extend the virtual interior created by the sound and moving images further into the boundaries of the actual, physical interior.   The exhibition spaces of Ngā Taonga Sound and Vision offer a rich testing site, and provokes the question, how can we create more immersive, engaging encounters of the incredible films collected by Ngā Taonga? The purpose of an archive is to preserve the past for future generations. Although the site currently allows some opportunities for the public to access the collection, it lacks a sense of immersion that can be explored through interior architecture interventions.</p>


2021 ◽  
Author(s):  
◽  
Duncan Geoffrey Anderson

<p>With the development of digital technologies, orthographic projection has been slowly removed from the process of architectural design. Instead, orthographic projection drawings are increasingly utilised purely post-design in the form of technical construction documents. Yet, according to Robin Evans orthographic projection is an active agency in the formation of images, and an effective agency for the elaboration of imaginary objects. Furthermore, for Iain Fraser and Rod Henmi orthographic projection produces conceptually sophisticated constructs whose abstract representation of space allows certain aspects and relationship to be seen which may not otherwise be visible. This thesis argues that the reduced role of orthographic projection in the process of design has affected architects' ability to elaborate the imaginary. To investigate the potential of orthographic projection in the elaboration of the imaginary, this thesis expands upon Marco Frascari's written theory of technological images as a palimpsest displaying three overlapping relationships: (1) between a real artefact and the reflected or projected image of it, (2) between a real artefact and its instrumental image, and (3) between the instrumental image and its symbolic image. To expand upon this theory graphically this thesis employs a methodology of architectural drawing as research. Outlined by Clemens Steenbergen, this framework proposes three distinct forms of architectural drawing that constitute research. This thesis couples these three forms with Frascari's three overlapping relationships of a technological image: (1) The Reproduction Drawings aim to register more accurately how something is made up through a process which interprets the object of observation and incorporates it into memory. These drawings embody the first overlapping relationship of Frascari's, technological image, between a real artefact and the projected image of it. (2) Analytical Drawings reveal abstract qualities and potentials by reducing the complex compositions of the first series to their elementary geometric forms, lines and grids. These drawings embody the second overlapping relationship, between a real artefact and its instrumental image. (3) Experimental Drawings project the reproduction and analytical drawings into an existing context to expand upon or reinforce the relationships and conceptual connections formed in relation to the site in the preceding two series. The effects of these interventions are assessed and altered, ultimately leading to new concepts and new compositions. These drawings aim to elaborate imaginative relationships between buildings and architectural ideas, through a process Frascari terms a mutual measure derived from a familiar nature. These drawings embody the third and final overlapping relationship between the instrumental and its symbolic image. By extending upon Frascari's theory graphically, this thesis argues that orthographic projection remains a valuable tool in the process of design. The real artefact chosen to demonstrate the continued value of orthographic projection is Wellington's Civic Square. This site was selected as the buildings located around its formal rectilinear domain offer a heterogeneous mix of civic architecture, ranging from the strictly orthogonal Town Hall and City Gallery to the curvilinear Public Library and City Administration Building. This site offers the opportunity to test both the advantages and disadvantages of orthographic projection, for the reading of architecture and the elaboration of the imaginary, within a formally diverse existing urban environment.</p>


2021 ◽  
Author(s):  
◽  
Duncan Geoffrey Anderson

<p>With the development of digital technologies, orthographic projection has been slowly removed from the process of architectural design. Instead, orthographic projection drawings are increasingly utilised purely post-design in the form of technical construction documents. Yet, according to Robin Evans orthographic projection is an active agency in the formation of images, and an effective agency for the elaboration of imaginary objects. Furthermore, for Iain Fraser and Rod Henmi orthographic projection produces conceptually sophisticated constructs whose abstract representation of space allows certain aspects and relationship to be seen which may not otherwise be visible. This thesis argues that the reduced role of orthographic projection in the process of design has affected architects' ability to elaborate the imaginary. To investigate the potential of orthographic projection in the elaboration of the imaginary, this thesis expands upon Marco Frascari's written theory of technological images as a palimpsest displaying three overlapping relationships: (1) between a real artefact and the reflected or projected image of it, (2) between a real artefact and its instrumental image, and (3) between the instrumental image and its symbolic image. To expand upon this theory graphically this thesis employs a methodology of architectural drawing as research. Outlined by Clemens Steenbergen, this framework proposes three distinct forms of architectural drawing that constitute research. This thesis couples these three forms with Frascari's three overlapping relationships of a technological image: (1) The Reproduction Drawings aim to register more accurately how something is made up through a process which interprets the object of observation and incorporates it into memory. These drawings embody the first overlapping relationship of Frascari's, technological image, between a real artefact and the projected image of it. (2) Analytical Drawings reveal abstract qualities and potentials by reducing the complex compositions of the first series to their elementary geometric forms, lines and grids. These drawings embody the second overlapping relationship, between a real artefact and its instrumental image. (3) Experimental Drawings project the reproduction and analytical drawings into an existing context to expand upon or reinforce the relationships and conceptual connections formed in relation to the site in the preceding two series. The effects of these interventions are assessed and altered, ultimately leading to new concepts and new compositions. These drawings aim to elaborate imaginative relationships between buildings and architectural ideas, through a process Frascari terms a mutual measure derived from a familiar nature. These drawings embody the third and final overlapping relationship between the instrumental and its symbolic image. By extending upon Frascari's theory graphically, this thesis argues that orthographic projection remains a valuable tool in the process of design. The real artefact chosen to demonstrate the continued value of orthographic projection is Wellington's Civic Square. This site was selected as the buildings located around its formal rectilinear domain offer a heterogeneous mix of civic architecture, ranging from the strictly orthogonal Town Hall and City Gallery to the curvilinear Public Library and City Administration Building. This site offers the opportunity to test both the advantages and disadvantages of orthographic projection, for the reading of architecture and the elaboration of the imaginary, within a formally diverse existing urban environment.</p>


Author(s):  
John Plunkett ◽  
Jeremy Brooker ◽  
Bryony Dixon

Queen Victoria was enthusiastically taken up by the shows, exhibitions and lectures that blossomed in the nineteenth century. This collaborative essay demonstrates the way Victoria's life and reign was embraced by the moving-image and projected-image formats that proliferated during the period, particularly touring panoramas, magic lantern shows and early film. Victoria and Albert were themselves intermittent visitors to these new pictorial shows in London, while, across both nation and empire, local communities were able to participate in key royal events thanks to their replaying and broadcasting by media such as the magic lantern and early film.


2021 ◽  
Vol 33 (5) ◽  
pp. 1155-1168
Author(s):  
Kenta Tanaka ◽  
Motoyasu Sano ◽  
Yumi Horimai ◽  
Hideyoshi Horimai ◽  
Yusuke Aoki ◽  
...  

In recent years, there has been an increasing need for larger screens and higher definition displays, while projectors are becoming smaller and cheaper. Furthermore, an ultra-short-throw projector that can display on a large screen while significantly reducing the distance between the projector and screen is being developed. However, ultra-short-throw projectors are required to be precisely aligned with the screen, and if the screen is not flat, the projected image becomes distorted. Therefore, geometric correction projection technology is attracting attention for projection on curtains and the walls of living rooms instead of screens for realizing the correction of distortion during projection with ultra-short-throw projectors, projection mapping, signage, etc. We focused on developing a hologram with perfect command of the ray. Conventional geometry-correction systems are expensive systems that require a personal computer and a camera. In this study, we developed a geometric correction method applying holographic ray direction control technology to control a holographic ray at a low cost and in real time. In this paper, we studied the exposure technology and proposed a ray-direction control technology that combines a scanning laser projector that uses a hologram and a micro electro mechanical systems mirror. We also proposed and demonstrated the basic principle of a holographic surface projector (HSP), which uses hologram geometry correction technology. Finally, we constructed a geometrically corrected hologram exposure system using a depth camera and conducted geometrically corrected projection experiments.


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