2019수능특강 영어 23강 본문

수능특강 영어 23강.hwp

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With the changes to open collaborative workstations and planning from cubicles, issues of privacy, noise, and loss of work focus have impacted the planning process in recent years. Many employees have complained that the very open workstation plans and integral collaborative spaces make concentration difficult. This is not to say that companies all want to go back to cubicles and private offices. Companies feel that the space plans that emphasize collaborative areas help with teamwork and the generation of ideas and solutions. The company also saves money because the space requirements of the more open work areas take less square footage than a cubicle plan with aisles. However, many designers and manufacturers find that a blend of collaborative spaces and areas of privacy—although not necessarily private cubicles or offices—has its advantages for many companies.

 

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Websites are steadily becoming more important in the photographer’s self-promotion repertory. If you have a good collection of digital photographs—whether they have been scanned from film or are from a digital camera—you should consider creating a website to showcase samples of your work, provide information about the type of work you do, and display your contact information. The website does not have to be elaborate or contain every photograph you’ve ever taken. In fact, it is best if you edit your work very carefully and choose only the best images to display on your website. The benefit of having a website is that it makes it so easy for photo buyers to see your work. You can send e-mails to targeted photo buyers and include a link to your website. Many photo buyers report that this is how they prefer to be contacted. Of course, your URL should also be included on any print materials, such as postcards, brochures, business cards, and stationery. Some photographers even include their URL in their credit line.

 

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A studio artist works like a novelist. He or she may pay a great deal of attention to the details of everyday visible reality, but what he or she adds to those observations is the something else, the shaping form supplied by his or her genius. The details figure in, but they are not the main point. Walker Evans wrote in an undated note to himself that anyone who goes to Botticelli to learn about the dress and manners of the fifteenth century is a pedant and a fool. Few scholars of the future who look at Jan Groover’s breakthrough still-life arrangements of kitchen utensils will spend much time considering the development of the colander in the 1970s. The main point is not a compilation of facts about the objects seen, but the genius of their combination into an original composition.

 

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Filmmakers, with the help of production designers, art directors, location managers, and countless other members of cast and crew, insert architecture into their films. On a practical level, architecture sets a scene, conveying information about plot and character while contributing to the overall feel of a movie. In more discreet ways, filmmakers can use their cameras to make statements about the built—or unbuilt—environment, or use that environment to comment metaphorically on any of a variety of subjects, from the lives of the characters in their films to the nature of contemporary society. Architects, for their part, create not only the structures that appear in films but the structures in which films appear—theaters—and the very infrastructure that supports the film industry.