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Travel or retail industry.

Use a company you are interested in from the travel or retail industry.

Write a 3–5 page paper in which you:
Identify which option you chose and indicate the products and/or services the company provides.
Describe the ideal qualities of a leader who inspires a culture of creativity and innovation.
Describe the steps a leader may take to be a contributor to a culture of creativity and innovation.
Identify two important leadership qualities of an individual aspiring to be a leader.
Describe barriers to fostering a culture of creativity and innovation from a leadership and employee
perspective.
Discuss ways that the leadership may coach and support employees with overcoming the barriers.
Use at least three quality resources in this assignment.

Sample Solution

participants with memory and agency over its provision; the ability to generate algorithms of their own accord whilst interacting infinitely across space and time within the digital space. Consequently in regard to how we consider human and non-human actors within digital museum spaces, a consideration has been taken into account of how these actors relate to one another. Timothy Morton has described how ‘speciesism and racism is deeply entwined and makes the concept of a person super expensive. Artificial Intelligence makes the person very cheap’. By applying this relationship to museology, we understand the value placed on AI and digital technologies could even out value placed on human and non-human actors within the museum. This could arguably change how museums ask and critically reflect on their audiences, participants and producers, in democratising and widening scope when museums consider whom museums are for. To springboard from the assertion that software can function as the primary audience within digital spaces, it is appropriate to then explore whom museums are for when digital entities can spatially expand and traverse between intangible and tangible spaces. High specification audio-visual and interactive installations are now ubiquitous within museum practice, whether this is the Big Picture Show [Appendix A] at Imperial War Museum North or 360 degree cinematic experiences, such as Hemisfèric at the Park of Arts and Sciences in Valencia. Using projection mapping and speakers, these digital spaces are able to produce to the most fluid and hybridized experiences within physical spaces. Light is an attractive object; drawing in humans and animals. A museum installation creates illusions and auras, arguably digitally expanding on Walter Benjamin’s concept of the object’s ‘aura’, but simultaneously flouts this, because of how audio-visual entities exist through duplicity. Light dances and sound bleeds to swell and consume spaces, these entities take collaborative ownership of surfaces and spaces by creating more illusory dimensional planes. Sound is a space-filling entity; this unique quality means it cannot be contained as easily. Therefore during the experience of working with sound in museums, it can take on the role of a unique mediator, in that its properties influence encounters with other exhibits. These potent shape shifters transform spaces into objects and objects into spaces to provide alternate ways the collection can be accessed. Audio-visual objects (projectors, speakers etc.) create choreographed museum installations, which are deceptive, in that the digital hardware can fully recede into the darkness and becomes almost invisible to the human viewer during this spectacle and partnership between light and sound. Expanding from the earlier bot example, these nonhuman digital actors
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