REVIEWER-FOR-MIDTERMS.pdf

E-COMMERCE AND INTERNET MARKETING DIGITAL MARKETING drives the creation of 2. Governance politics, standards and deamnd using the power of internet and satisfy guidelines with new and innovative ways. 3C’s of CUSTOMER EXPERI...

E-COMMERCE AND INTERNET MARKETING DIGITAL MARKETING drives the creation of 2. Governance politics, standards and deamnd using the power of internet and satisfy guidelines with new and innovative ways. 3C’s of CUSTOMER EXPERIENCE STRATEGY indicates the most advantageous 1. Core quality direction for an organization to take over for a 2. Convenience place period of time. 3. Competitive advantage uniqueness of the brand EFFECTIVE MARKETING STRATEGY involves making a series of well-informed 4P’s to 4C’s series decisions about how the brand, product Product - Consumer and services should be promoted. Price - Cost Promotion - Communication DIGITAL MARKETING STRATEGY build-ups Place - Convenience and adapt the principle of traditional marketing using the opportunities and challenges offered USER’S EXPERIENCE (UX) physical and by digital meduim. sensory and mental that the person has when interacting with digital tool BUILDING BLOCKS STRATEGY helps to structure a marketing strategy both online and USER’S INTERFACE (UI) user's facing part of offline that addresses the core business. the tool or platforms and is part of the actual website CONTENT MARKETING STRATEGY a umbrella term, a space where you share your UX CATEGORY content, a marketing technique of creating and 1.Functional UX covers the element of the distributing relevant and valuable content. user experience that relate using the tool, such as working technical elements, search and CONDUCTING SITUATIONAL ANALYSIS links. USING THE FOUR (4) PILLARS: 2. Creative UX the bigger and harder to define 1. THE ENVIRONMENT impression created by the tool. The so called -Micro (Small) “WOW" factors that covers the visual and -Macro (Large) creative elements 2. THE BUSINESS 3. THE CONSUMERS SIX (6) QUALITIES THAT MAKE UP GOOD 4. THE COMPETITORS UX -Direct same products 1.Findability can I find it easy? How long -Indirect alternatives products does it take to find something in the website? 2. Accessibility can I use it when I need it? KRISTINA HALVOREON suggest the Does it work on my mobile phone and slow approach of different areas of content internet connection? marketing. 3. Desirability do I want to use it? CONTENT COMPONENTS 4.Usability is it easy to use? Are the tools I 1. Substance who are you trying to need intuitive and easy to find? reach and why? 5. Credibility do I trust it? Is the website 2. Structure qhat is your content? How it legitimate? is engaged? How people find your 6. Usefulness does it add value to me? Will I content? get something out of the time I spend interacting with it? PEOPLE COMPONENTS 1. Workflow how does your conteng happen?  CORE PRINCIPLE OF UX DESIGN 1.User- centric design who are the users? What are the users needs and want from your platform? 2. Usability conventions about making the assets build essay and intuitive to use 3. Simplicity user friendly STEP BY STEP GUIDES IN UX DESIGN 1.Conduct research and discovery 2. Create the sites basic structure 3. Analytic content 4.Create a site map 5. Build the navigation 6. Create the layout 7. Assemblr the other elements 8. Define the visual design 9. Conduct testing READING VISUAL ARTS WEEK 1: WEEK 2: VISUAL ARTS are art forms that create works VISUAL ELEMENTS Line, shape, mass, light, that areprimarily visual in nature, such as value, color, texture, and space—are the ceramics, drawing, painting, sculpture, ingredients that an artist has available in printmaking, design, photography, video, film making any work of art. making and architecture LINE Strictly defined, a line is a path traced by USER INTERFACE (UI) are the access points a moving point. where users interact with designs. BOUNDARY OF LINE USER EXPERIENCE (UX) is the holistic OUTLINES two-dimensional shape. journey users traverse as they use a product. CONTOURS three-dimensional forms, VISUAL CONTENT CREATION We create DIRECTION AND MOVEMENTS Artists contents, became a contributor either to canuse this tendency to direct our eyes around A. Inform an image and to suggest movement. B. Educate C. Entertain IMPLIED LINES example from D. Socialize every- day life is the dotted line, where a series of dots are spaced closely enough that KARL MARX sees these creations (arts) as our mind connects them. the cry of the oppressed creature, a necessary reflection of and reaction to an SHAPE is a two-dimensional form. It occupies out of joint world. an area with identifiable boundaries. FRIEDRICH NIETZSCHE artists are still MASS a three-dimensional form that occupies creatures of oppressions, but this time a volume of space. oppressed by the unbearable brutality of our world. LIGHT a type of radiant energy, and we have learned how to generate it ourselves GUILLAME APOLLINAIRE believed that artist through electricity, are people who can recognize the symbols without which humanities divine view of the COLOR functionof light. Without universe collapses with dizzying speed. light there can be no color. MUSEUMS are the principal setting our COLOR PROPERTIES society offers for encounters with art. Yet HUE is the name of the color according to the the vast majority of humankind’s artistic categories of the color wheel—green or red or heritage was not created with museums in blue-violet. mind VALUE refers to relative lightness or darkness. AESTHETICS The word aesthetics was coined in the early 18th century by a German INTENSITY also called chroma or philosopher named Alexander Baumgarten. saturation—refers to the relative purity He derived his word from the Greek word for of a color. perception, aisthanomai, and he used it to name what he considered to be a field of COLOR HARMONIES sometimes called a knowledge, the knowledge gained by sensory color scheme, is the use of two ormore colors experience combined with feelings. in a single composition. MONOCHROMATIC HARMONIES are SUBORDINATION means that certain areas of composed of variations on the same hue the composition are purposefully made less visually interesting COMPLEMENTARY HARMONIES involve colors directly opposite each other on the SCALE means size in relation to a standard or color wheel. “normal” size ANALAGOUS HARMONIES combine PROPORTION refers to size relationships colors adjacent to one another on between parts of a whole the color wheel RHYTHM is based in repetition TRIADIC HARMONIES composed of any three colors WEEK 4: SEMIOTIC study of signs, symbols, and their TEXTURE refers to surface quality— interpretation. a perception of smooth or rough, flat or bumpy, fine or coarse. ROLE OF VISUAL DESIGN 1.SHAPES are crucial in visual PATTERN is any decorative, repetitive motif or communication. design 2. SYMBOLS provide a visual shorthand for SPACE a dynamic visual element that complex ideas. interacts with the lines and shapes and colors and textures 3. COLORS can evoke emotions and moods. THREE DIMENSIONAL SHAPE sculpture, DENOTATIVE provide the architecture, and all other forms with mass literal meaning or representation of an image. exist in. CONNOTATIVE signs imply deeper meanings WEEK 3: that go beyond the surface. PRINCIPLE OF DESIGN UNITY a sense of oneness, of things VISUAL SIGN INTERPRETATION belonging together 1.Societal Norms influence common interpretations of signs. VARIETY is difference, which provides 2. Personal experiences shape how interest individuals interpret visual signs. 3. Evolving meanin As cultures evolve, so do BALANCE have a certain visual weight, and the meanings of signs and symbols. together theybalance the photograph WEEK 5: SYMMETRICAL BALANCE implied center of ICONOGRAPHY ART comes from the Greek gravity is the vertical axis, an imaginary line word ikon meaning image. drawn down the center of the composition. - a particular range or system of types ASYMMETRICAL BALANCE has two sides of image used by an artist or artists to convey that do not match. particular meanings EMPHASIS means that our attention is ICON is a compact symbol that represents a drawn more to certain parts discrete object, action, or idea. WEEK 8: REALISM: MIRROS OF REALITY is centered on depicting subjects truthfully, without embellishment or abstraction. PRETTINESS: AESTHETICS AND SURFACE APPEAL FOCUS ON BEAUTY concept of prettiness in art prioritizes surface beauty and aesthetic appeal CULTURAL PERCEPTION prettiness provides an important aesthetic experience SPIRITUAL AND RITUAL FUNCTIONS IN ART 1.Sacred theme intertwined with religious practices, acting as a medium for conveying sacred themes. 2. Ritual significance Ritualistic functions of art include its role in ceremonies and spiritual practices, creating atmospheres of transcendence and spiritual ,connection 3.Cultural values The integration of art and religion demonstrates art's capacity to reflect and convey cultural values and belief ART AND MORALITIES ETHICAL ART Art has the potential to serve as a powerful tool for social critique, exposing injustices and advocating for change. SOCIETAL IMPACT This perspective sees art as a catalyst for moral discourse and transformation, not just as an aesthetic object. SYMBOLIC COMMUNICATION THEORY 1.Art as language Symbolic communication theory suggests that art functions as a language, conveying meanings through symbols and imagery 2. Interpretive engagement Art's symbolic nature necessitates active viewer engagement 3. Cultural connectivity By focusing on semiotics, this perspective illustrates how art connects diverse cultures through shared symbols and visual narratives LIFE AND WORKS OF RIZAL 5 YEARS OLD able to read “Historia Sagrada" 3 UNCLE WHO INSPIRED RIZAL RA 1425 Rizal Law 1. Gregorio Alberto work hard, to think CLARO M. RECTO main promonent/autor of for himself Rizal Bill 2. Jose sketch, paint and sculpt JOSE P. LAUREL co author 3. Manuel swimming, fencing wrestling and other sports WHO OPPOSED/DISAGREE IN RIZAL BILL 1. Sen. Decroso Rosales ESCUELA former name of ATENEO 2. Francisco “Soc" Rodrigo 3. Sen. Mariano Cuenco SANTA ISABEL COLLEGE private lesson to improved in Spanish SEN. JOSE P LAUREL filled Rizal law based on proposal of SEN. ROSIELER LIM and 1877 matriculated/ enrolled in UNIVERSITY EMMANUEL PALAEZ OF SANTO TOMAS JUNE 12, 1956 signed by RAMON COMPANERISMO secret society of Filipino in MAGSAYSAY UST JUNE 12, 1957 came into effect FATHER JOSE VILLACLARA advised to stop communing to muse and pay more attention to MEMORANDUM ORDER 247 issued by SEN. practical studies FIDEL RAMOS directing Department of Culture and Sports and Commission on Higher UNIVERSIDA DE CENTRAL MADRID study Education to Immediately and fully implement Medicine and Philosophy RA 1425 MI PRIMERA INSPERACION “MY MEMORANDUM ORDER 6 CHED order to INSPIRATION" 1st poem dedicated to his offer Rizal Course to College and Universities Mother JOSE PROTACIO RIZAL MERCADO Y AMOR PATRICIO (love of country) 1ST ALONZO REALONDA Article BIRTHDATE: JUNE 19, 1861 LOS VIAJES (travels) 2ND Article DEATHDATE: DECEMBER 30, 1896 REVISTA DE MADRID 3RD Article FATHER: MERCADO RIZAL MOTHER: TEODORA ALONZO REALONDA DIARIONG TAGALOG 1ST Manila Bilingual newspaper (Spanish and Tagalog) CHILDREN OF RIZAL (SIBLINGS OF JOSE) 1. Saturnina married Manuel T. Hidalgo LAONG LAAN pen name in Diariong tagalog 2. Paciano 2nd father of Jose, pilosopong tasio AUGUDTINIANS, RECOLLECTS, 3. Narcisa married Antonio Lopez DOMINICAN, JESUIT AND FRANCISCANS 4. Olimpia married Silvestre Ubaldo controlled relogious and education life in 5. Lucia married Mariano Herbosa Philippines (19th Century) 6. Maria married Daniel Faustino 7. Rizal LODGE SOLIRADIDAD Where he became 8. Concepcion died at age of 3 master of Mason 9. Josefa panggoy 10. Trinidad custodian of Rizal last poem FALLA Exemption fee to be excluded from 11. Soledad married Pantaleon Sagrada Polo  2. SILVESTRE UBALDO POLO Y SERVICIO Forced labor 3. CHENGOY (JOSE M. CECILIO) POLISTA Had to work 40 days a year LANDLORD Spaniards TENANTS Native Filipino ALCALDE MAYO Provencial mayor ALCALDE EN ORDINARIO City mayor PRINCIPALLA Local Elite GOVERNADIRCILLO (Kapitan) highest position CABEZA DE BARANGAY Heads of Brgy. or bario ALFEREZ Heads of Guardia Civil 1935- 1897 Philippines ruled by 50 Governador Heneral WELL KNOWN GOVERNADOR HENERAL 1. RAFAEL DE IZQUIERDO execute the GOMBURZA 2. VALERIANO WEYLER Led brutal proscution of Calamba tenants 3. CAMILO DE POLAVIEJA Execute Rizal FRAILOCRACY Government in Hispanic Philippines DR. OTTO BECKER Opthalmologist DR. KARL ULLMER Friend of Rizal BERLIN, GERMANY First published NOLI ME TANGERE (1887) DON JOSE TAVIEL DE ANDRADE body guard of Rizal PEDRO PAYO Sent copy of NOLI ME TANGER to UST SEIKE USUI Courted Rizal and help Rizal to learn Japanese GRACIANO LOPEZ IDENA founded LA SOLIDARIDAD JUNE 19, 1885 Awarded Licentrate in Philosophy and Letter 1ST HOMECOMING (1887-1888) 1. PACIANO OPERATION MANAGEMENT AND QTM PRICING STRATEGY  BRAND MANAGER Helps them CHAPTER 3: CONJOINT understand how much value customers ANALYSIS place on different feature 3 MAIN APPROACHES TO PRICE MARKET MATURITY SETTING 1. Revolutionary Market New product 1.Exchange value models provide a define category with no direct competitors broad pricing range 2. Mature Market With commodity like 2. Economic price optimization highly products where little differentiation exists precise but often inaccurate 3. Conjoint analysis focused on specific EVOLVING MARKET Products are features and customer preference constantly adding value or reducing costs CONJOINT ANALYSIS Is form of market UTIL(UTILITY) A unit used in marketing research that breaks product into and economics to measyre the perceived customer relevant attributes value or satisfaction CONJOINT ANALYSIS Method of figuring out what customer value most