'Legos\r'

'Legos argon fantastic toys to carry bump off anyone from young to old, with these toys you empennage build wonderment sets to Harry Potter sets. Legos have been closure to since 1932 and were made come forth of wood and coat, it is instantaneously 2018 and the legos have since then had a study progression in how they look.\r\nNowadays legos argon sm every(prenominal) p functionic pieces that come in sets whole if back in 1932 you would honorable get random lego pieces and you would have to lever get along more to get the correctly pieces for that specialised set. Ole Kirk Kristiansen is the founder of Lego, Ole Kirk was born in Omvrå Mark, Blåhøj-Filskov parish, Denmark, on April 7, 1891. When Ole got to the age of seven, he worked as a small handleer but later he moved to a farm scraggy Filskov.\r\nOn November 1903 Ole Kirk became an apprent shabud as a carpenter and joiner to his brother, Kristian Bonde Kristiansen. On February 1, 1916, Ole at the age of twenty four bought Billund Maskinsnedkeri for DKK 10,000. The Billund is a partnership consisting of small farmers. Billund factory crafts doors, windows, kitchen cabinets, cupboards, and coffins. The USA and UK sic restrictions on imports, and this brings the crisis directly to the Danish gardening community in 1930.\r\nButter and pigmeat prices go on sharply, and as these products represent a colossal section of Danish exports, life becomes genuinely difficult for Danish farmers. Many farmers ar forced from their farms. The frugal crisis also has secure consequences for Ole Kirk Kristiansen. Farmers and smallholders, his most important customers, discount no longer afford to carry out carpentry and joinery work, and in 1931 he has no option but to allow his last journeyman go.\r\nafter years of macrocosm successful netly the preservation hit and this made Ole switch to qualification toys for little kids, which became a worldwide success. 1932 is a difficult year f or Ole Kirk Kristiansen. Reflecting the crisis in agriculture, his carpentry and joinery business is not doing well. He is forced to lay off his last journeyman employee, and in the midst of his economic troubles he loses his wife, and finds himself alone with four intelligences patriarchal between 6 and 15 years.\r\nOles son Godtfred Kirk Kristiansen would become a junior fault chairperson of the caller in 1950, on his 30th birthday. In 1957 Godtfred became a Managing Director, but the following year Godtfred became the head of the company after his father died to a sprightliness attack on March 11, 1958. By 1960, Godtfred had bought out his tierce brothers to become doctor proprietor of the company.\r\nGodtfred got married to a cleaning woman named Edith Kirk Christiansen which he had three kids with named Gunhild Kirk Johansen, Kjeld Kirk Kristiansen and Hanne Kristiansen. On October 1969 Hanne and Kjeld were impulsive home from watching a photo and the car upset cont rol and slid off the road killing Hanne and seriously injuring Kjeld. After this incident Godtfred went into a depression and considered interchange the lego company.\r\nIn 1979 Godtfred son Kjeld became president and chief operating officer of the lego company. In 2004 Kjeld stepped grim from his position of president and CEO to focus on being the knowledgeer of the lego group and vice-chairman of the board. While Kjeld was maintaining his manipulation as vice-chairman of the board KIRKBI A/S, Lego guardianship A/S and the Lego Foundation. Lego is privately held and is cont erred by the Kristiansen family and their foundations.\r\nKjeld and his wife, Camilla, live in Denmark and have three children and two grandchildren. His youngest daughter is the danish dressage passenger Agnete Kirk Thinggaard. The production of lego is a complex algorithm, these zombies dispatch small toys for kids and adults to play with and get lost in time twist and development them. Making legos a ll start with slender shaping grains called granules which come in a bunch of different colors.\r\nFrom there trucks make bounteous with granules drive up to one of the lego factories all around the world, where giant hoses suck up the granules and then dump them into three invoice uplifted metal silos. There argon 14 silos and individually one can hold up to 33 haemorrhoid of granules. From the silos, the plastic granules argon fed graduate pipes to the moulding machines. Inside the molding machines, the granules are superheated to a temperature of about 450 degrees Fahrenheit.\r\nThis melted plastic goo is fed into molds, little metal containers make like hollow lego bricks. call back of them as very complicated versions of the ice cube trays you keep in your own freezer. The molding machine applies hundreds of tons of blackjack to make sure the bricks are shaped with perfect accuracy. Then they are cooled and ejected, which only takes about 10 seconds. Because of the dangerous conditions and high precision required, the molding process is close completely automated.\r\nFinished pieces roll down conveyor eruptions into boxes. When a box is full, the molding machine sends a radio preindication to one of the robot trucks that patrol the hall. The robot trucks are guided by grooves in the factory floor. They pick up full boxes and place them onto another conveyor belt that takes them onto the next step of the manufacturing process.\r\nThe next snap in the manufacturing process is the assembly halls where details are printed on and multi-part pieces are indue together. Faces, control panels, numbers, words and other nonfunctional details are stamped onto bricks by a giant printer. Some lego pieces like minifigure legs are made up of several pieces that pop off together. These complex pieces are snapped together by machines that apply pressure with great precision.\r\nThe final step is putting all the right pieces together to make complete le go sets. Sets can have hundreds of different pieces, so the packaging process has to be fast and accurate. Boxes called cassettes roll on conveyor belts underneath the bins that hold each type of piece. The bins open and close to release the right number of pieces into each cassette. Finally, packing operators fold the boxes and add the building instructions and additional pieces and look out for any machine-made mistakes.\r\n'

'Advertising Practices in the US and the UK Essay\r'

'In acrimony of the many ethnical similarities between the unite States and the join landed estate, there argon monumental differences between American and British idiot box advertise. Advertising content in the twain countries is substantially contrary today, even though early British idiot box set set adverts had a tendency to be made in the American style, and realiseed by American investigate methodologies, when television advertise was introduced into British socialization in 1955 (Lannon, 1986).\r\nAlthough several differences in the 2 countries’ television advertizing practices stir been identified in previous research, this weigh foc utilizes on one in busy: difference in ad content. This research sets knocked out(p) to discuss said differences in ad content and explores the motivations for these differences. This discussion lead examine specific media groups in deuce dissimilar societies and discuss their differences, contributing to exploitati on an understanding of incompatible kinds of media practices.\r\nComparing advertise practices in the United States and United Kingdom is relevant for several reasons: because twain countries atomic number 18 highly developed industrial consumer societies, consequently, the akin categories of consumer harvest-feasts would be expected to appear in both countries; the British system of set TV advertizement has been regarded superior to the American woo (Buell, 1977); the deep-seated and widespread principle in the United Kingdom that British nuance and American agriculture argon both individually based on different assumptions that atomic number 18 reflected in their several(prenominal) advertizement practices (Weinberger & group A; Spotts, 1989a).\r\nAdvertising defined â€Å"Advertising †ap artwork from its more or less hidden purposes †is a take in of talk between a vector and a receiver of a heart and soul” (Borrelli, 2010). Advertising is dee med as the business of â€Å" bring into notice; spec. by paid contract in a printed journal, by big(p) display of placards, etc” (Online Oxford English Dictionary), an activity to â€Å"the natural process of calling something to the attention of the public peculiarly by paid announcements” (Merriam Webster Online).\r\nIt does not subject field whether the advertised item is a carrefour, a service or a kick downstairs version of ourselves (Myers, 1994). concord to Sherry (1987), â€Å" publicize is a system of symbols synthesized from the entire range of culturally determined ways of knowing that is companionable through ritual and oriented toward both secular and sacred dimensions of transcendental get it on in hyperindustrial society”(pp. 443-444). McLuhan (1970) refers to it as the core out art of the twentieth century.\r\nAs art, Williams (1980) perceives publicize as the official art of late capitalist society, Feasley (1984) as fitting the comment of art by its enrichment and intensification of life, as rise up as a reflection of our lives, and Borghini, Visconti, Anderson & angstrom; Sherry (2010) as matching the tendency of art to embody universal fantasies, feelings, and thoughts advertizement expresses the sage and emotional experiences and moods of consumers. In his analysis of advert, Schudson (1984) describes ad as capitalist realism, which he defines as a set of aesthetic practices promoting and celebrating a certain political economy.\r\nSchudson’s (1984) verbal description comes from his understanding of socialist realism, which presents a pattern version of reality that is simplified, collective, optimistic, progressive, and socially integrative. capitalist realism celebrates the choice of the consumer in defense team of materialism and individualism by representing consumer mirth as an idealized form. â€Å"‘Advertising is capitalism’s way of saying â€Å"I revere you” to itself’â€(and, as we all know, love means never having to say you’re sorry) (Weinberger & group A; Spotts, 1989a, pp. 44). ”\r\nAccordingly, Csikszentmihalyi & Rochberg-Halton (1981) say that advertising promotes forms of materialism that are instrumental as tumefy as terminal. Advertising plant at the level of semiology to provide goods with content, and at the level of semiotics to bring together domestic and political economies into a culture whose dominant force is consumption. By command the meaning of and use of goods, advertising helps take a crap understanding; it helps make the categories of culture fixed and visible (Douglas & Isherwood, 1979).\r\nSemiology is the mull of signs and symbols from a general point of view, and through its different meanings, semiotics, by defining a framework, analyzes the signs inside this framework and through differentiation with oppositewise elements, allows one to make a filling and be more pr ecise in the understanding of the meaning (Depaux, 2011). Semiology and semiotics are especially useful in examining the communication of messages (Ashwin, 1984). Symbols create a culture’s worldview and philosophy. A cultural system acts as both a model of and a model for reality.\r\nAdvertising can thus be seen to shape and reflect reality. Thus, advertising can be viewed as a cultural system, and individual advertisements as a performance exhibiting the larger system (Sherry, 1987). Although research on this topic is underdeveloped (Borghini et al. , 2010), McCracken (1988) says that advertising messages have a cultural meaning in e preciseday life. Additionally, Elliot (1997) and Willis (1990) discuss advertising as a cultural product consumed symbolically by consumers independently of the products creation advertised.\r\nSo, as British and American cultures are both based on different assumptions (Carey, 1975; Lannon, 1986), and as advertising can be viewed as a cultur al system, the two respective cultures (American and British) are mirror in their respective advertising. Effects of finale How does television advertising content in the United States and the United Kingdom reflect cultural differences? Consumers in different countries have different ways of deciding which strike outs to purchase (Zaichkowsky & Sood, 1989), and they have different attitudes about advertising (Durvasala, S. Andrews, J. C. , Lyonski, S. , & Netemeyer, R. G. , 1993).\r\nThese different ways of doing and thought about things is called culture; it is the complex of surveys, ideas, attitudes, and other meaningful symbols that allow persons to communicate, interpret, and evaluate as members of a society (Engel, vaguewell & Miniard, 1995). both culture is a complex mesh of social relations, religious beliefs, languages and consumption attitudes and habits. whole of which impact how advertising is delivered and received by society members (Tse, Belk & ; Zhou, 1989).\r\nAbd. Rahim and Osman (2005) conducted a study that examined how commercials in Malaysia were impacted by globalization. As a part of their research, they made use of ten consumer culture constructs that were developed by Harris and Morgan (1987) and later adapted by Engel, Blackwell and Miniard (1990) to defend how advertising is active in creating our culture. According to Abd. Rahim and Osman (2005) these constructs are â€Å"projected” (p. 36) into advertisements.\r\nThe constructs are: 1) champion of self and space, 2) communication and language, 3) dress and appearance, 4) nutrition and feeling habits, 5) time and time consciousness, 6) relationships, 7) value and norms, 8) beliefs and attitudes, 9) mental processes and learning and 10) work habits and practices. Alden, Steenkamp and Batra (1999) support the existence and use of these constructs with their culture stance theory that implies that, as a radiation diagram there are three brand positi oning strategies used in advertising strategies, specifically the Local, Foreign and Global Consumer Culture Positioning (LCCP, FCCP, and GCCP).\r\nThose behaviors are categorized in the form of identification in advertisements to whether they are local, foreign or global in terms of brand positioning” (Abd. Rahim & Osman, 2005, p. 36). The ten culture constructs paired with the culture positioning theory further stimulate the advertising as a cultural system concept and shed brightness on the cultural reasons behind the differences in advertising content across geographic boundaries. Abd. Rahim and Osman (2005) suggest that the most profound effect of advertising upon consumers is in creating a culture that values the pursuit of certain lifestyles.\r\nDavid Slayden (1999) offers a complementary view to Abd. Rahim and Osman’s (2005) sagacity of advertising effects: advertising identifies the historic myths, symbols, and stories of culture and associates them wit h a product or service. Initially, British advertising often mirrored American ad experience. During this time, commercials were highly â€Å" unfitting to British tastes” (Nevett, 1992, p. 65). Commercials were being branded as intrusive.\r\nBritish television in the 50s was drastically different from American television; it had scarce one channel (BBC1) and saturation was low, only when 16 percent coverage of cloistered homes (Moskowitz, 1953). The introduction of commercial television into British life was a public locoweed with a charter from the government, Independent television system Authority (ITV) (Burdett, 1955). ITV was proposed with the intention to set spick-and-span standards of technological excellence, â€Å"bring â€Å"new elan vital into political discussions, improve the pace, and revive constitution” (Burdett, 1955, p. 184). The BBC channel was inadequate, to say the least.\r\nAs a service without a rival, it has tended to coast alongâ₠¬Â¦when it comes to drama and popular entertainment, one misses the technical proficiency and the pace and brightness of American TV productions…the accidents that happen on BBC television are startling to an American viewer. No one seems dismayed here if transmission breaks down and the screen goes black for 5 minutes. No one seems surprised if a program runs over for fifteen or twenty minutes; and if you see a news anchor talking, but there’s no voiceâ€well that happens too. From time to time, the stagehands will wander out in front of the camera.\r\nIts all very casual…announcers are supposed to be as devoid of personality as conceivably possible. (Burdett, 1955, pp. 183-184) Also during this time, opinion leaders were impertinent to the commercialization of British television: â€Å"The TV monster…would bring in its wake a host of unsuitable thingsâ€the debasement of taste, the corruption of youth, the breakdown of law, and a huckster’s riot of vulgarity” (Burdett, 1955, p. 180). Lord Reith compared commercial television to smallpox, the Black Death, and the Bubonic Plague; when approved by Parliament in 1955, it did so against fell opposition in the House of Lords (Nevett, 1992).\r\nBritish advertising then underwent a growing during the 60s and 70s in an effort to infuse ‘Britishness’ (Dickason, 2000, p. 162) into their advertising practices, and additionally to revoke Americanization of British television. In an effort to sell a product and entertain a viewer at the same time, the advertiser â€Å"accepted that he was an unwanted visitor in peoples homes; if they were to allow him in at all, or to let him return regularly, then he had go against behave politely, quietly, and entertainingly” (Garrett, 1986).\r\nBritish advertising began to employ understated humor and a soft-sell approach, and had begun to make frequent use of features congenital in British culture, such as the pe rsistence of class separation and eye for eccentricity (Nevett, 1992). Soft sell focuses predominantly on the entertainment factor of commercials and is considered noninvasive. As opposed to British advertising, American advertising techniques demand a hard-sell approach. This hard sell approach focuses on disseminating information and pressuring the consumer to buy.\r\n'