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You are here: Home » Academic » Academic Results 2019
Students at Haberdashers' Monmouth Schools have achieved a very strong set of results in the more challenging two-year linear A-level examinations.
At Monmouth School for Boys, 40.7% of all grades were A* to A – well above the national average of 25.5% – and 66.8% were A* to B, an improvement in the results from 2018.
The A* rate was 11.1% and a total of 84% of all grades were A* to C.
Fourteen boys recorded three or more A* and A grades.
A level students at Monmouth School for Boys with Headmaster, Dr Andrew Daniel.
Haberdashers' Monmouth Schools were particularly pleased that the vast majority of students gained their first or second choice place at university.
Great Britain junior rowing cox, Jack, a Deputy Head of School at Monmouth School for Boys, achieved three As and will be taking up an offer to read History at Oxford University.
Adam, a fellow Deputy Head of School, who was heavily involved in last year's outstanding Young Enterprise business project, was awarded three A*s.
Adam achieved three A*s at A level
Joe was another student who excelled, recording two A*s and two As and will be heading to the University of St Andrews to read Computer Science.
He said: "I am absolutely delighted and the results have put me on the pathway towards working in computing, possibly in cyber-security."
Jerome, who achieved 3 A*s and an A, and Anuj, who secured an A* and three As, were also among the successful students.
Sixteen-year-old Robin, who has just finished Year 11, took the A level Mathematics exam two years early and gained an outstanding A* grade.
Headmaster at Monmouth School for Boys, Dr Andrew Daniel, said: "This is the first year of the fully reformed and more challenging two-year linear A level examinations and the boys have achieved very strong results.
"Having played such a full role in the life of the school, alongside their academic commitments, the vast majority of boys are now able to take up offers at their first or second choice university."
A level students at Monmouth School for Boys, Antony and Joe, with their results.
Pupils at Haberdashers' Monmouth Schools achieved excellent results in this year's GCSE and IGCSE examinations.
The results include a mixture of letter and number gradings with a 9 considered to be a high A*, an 8 a low A*, a 7 the equivalent of an A grade and 4 the equivalent of a C grade pass.
At Monmouth School for Boys, 19.2% of all grades on the 9-1 grading system were the coveted 9, with 55.2% at 9-7 and 95.2% at 9-4.
In the traditional letter grading system, 32.8% of all grades were A*, while 62.3% were A* to A, 85.2% were A* to B, and 96.7% were A* to C.
Pupils at Monmouth School for Boys celebrate their GCSE results with Headmaster, Dr Andrew Daniel.
Edward, Adam, Jonah and Tom were among the highest achievers at Monmouth School for Boys.
Four pupils at Monmouth School for Boys achieved 9-8 or A*s in all their subjects with two securing the highest possible grades.
Jonah, who lives near Raglan, achieved nine 9s and an A* and will be taking A levels in Maths, Physics and French.
"I am very relieved and delighted with my results because I thought the English and Biology exams were very tough," said Jonah, a former Raglan Primary School pupil.
Adam, who lives near Ross-on-Wye, recorded an outstanding haul of nine 9s and an A*.
"I came into school to collect my results rather than accessing them online because I enjoy the camaraderie of being with all my friends," said Adam, who will be studying Biology, Chemistry and English at A level.
"I didn't know what to expect due to the new, tougher exam system, but I worked hard and I achieved better than I had expected."
Edward, a keen rower and musician who plays the cello and clarinet, achieved eight 9s, an 8 and an A.
"I didn't check my results online and I came in to collect my results the traditional way. It was nice to get the envelope in my hands," said Edward, who will be studying French, German, Maths and Further Maths at A level.
"My results are what I had hoped for, so I am delighted."
Sean who secured seven 9s, an A* and two 8s and Tom, from Itton near Chepstow, with six 9s, an 8 and an A*, also excelled.
Tom said: "I am especially happy with my 9 in Maths because it was a very tough exam. I am pleased overall because I am interested in a career in finance and I will be taking A levels in Maths, History and Chemistry."
Headmaster, Dr Andrew Daniel, said: "This is the second year that the boys have taken the new and more demanding GSCEs and the hard work among pupils and staff has paid off.
"Two boys achieved a full set of grade 9s or A*s and another seven achieved a complete set of 9–7 grades or A*- A grades.
"The vast majority of our boys are heavily involved in all aspects of school life and some of the cohort have had to overcome significant challenges this year. Staff and pupils should be pleased with this excellent set of results."
Outstanding GCSE results at Monmouth School for Boys
Pupils at Monmouth School for Boys celebrate their exam results with Headmaster, Dr Andrew Daniel.
Pupils at Monmouth School for Boys achieved outstanding results in this year's GCSE and IGCSE examinations.
The results include a mixture of letter and number gradings with a new 9 considered to be a high A*, an 8 a low A*, a 7 the equivalent of an A grade, and 4 the equivalent of a C grade pass.
Hard work and dedication from the pupils and teaching staff certainly paid off.
Despite the uncertainty of the grading changes, a total of 71% of all grades were A* to A (or 9-7 on the new scale), compared to 61.9% in 2017, and 98% were A* to C (or 9-4).
Seven pupils achieved the highest grade across all their subjects and over 30% of grades, awarded on the reformed 9-1 grading, were the coveted 9.
Some of the top achievers at Monmouth School for Boys. From left: Joseph H, Cameron M, Adam W, Thomas E, Kyah M, and Joseph S.
Coleford duo Anan K and Tomos B; Joseph H, Kyah M, Cameron M, and Joseph S, who lives in Newport, all recorded a remarkable a haul of 10 A*s or a 9.
Kyah M, from Lydney, said: "I am delighted that the hard work has paid off and I am looking forward to taking Maths, Further Maths, Economics and History at A level in the Sixth Form.
"I am interested in finance and banking and I would like to try to get into Oxbridge to study Politics, Philosophy and Economics."
Keen rower Joseph H, from Ross-on-Wye, said: "I put a lot of work in and decided to treat my mock exams as the real thing to get a benchmark.
"I am eventually hoping to read Classics at Oxbridge, so I will be studying Maths, Further Maths, Latin and Ancient Greek at A level."
Music scholar, Cameron M, from Abergavenny, said: "It was a complete surprise because I had set my hopes lower but I am ecstatic with the results.
"I can't wait to start my A levels in Maths, Further Maths, Physics and English in the Sixth Form. I play the trombone and piano and sing in the choir and I am now thinking about applying for Oxbridge."
Ieuan R, who lives near Raglan, and Edward S, from Herefordshire, were awarded the highest grade in nine subjects.
Thomas E, from Bristol, secured the top grade in eight subjects and keen sportsman Adam W in seven subjects.
Abergavenny's Adam W, who plays rugby for Hereford Colts and was a member of Worcester Warriors' Academy, said: "I made sure I came in this morning to pick up my results rather than look online because I wanted to see my friends.
"The overall results are great across the board. I am going to study Biology, Chemistry, History and French because I want to read Medicine at university."
Dr Andrew Daniel, Headmaster at Monmouth School for Boys, said: "Given that many of our boys are very actively involved in our extra-curricular programmes, this year's results are particularly impressive.
"A total of 71% of all grades were A* to A (or 9-7 on the new scale) and seven pupils were exceptional, securing the highest possible grades in 10 subjects. The staff and pupils should be very proud of their achievements."
High achievers: Rowing aces Thomas E, Joseph S, Joseph H and Cameron M, who trialled for Great Britain in a coxed IV in Nottingham earlier this year.
Excellent A level results at Monmouth School for Boys
A level students at Monmouth School for Boys celebrate their results with retiring Director of Studies, Mr Tony Winter (centre, back row).
Pupils at Monmouth School for Boys are celebrating an excellent set of A level results.
A total of 43.5% of all grades were A* to A – comfortably rising above the national average of 26.4%.
Twenty-two boys have achieved three or more A* to A grades and 64.7% of all grades achieved were A* to B as the hard work and dedication of Sixth Form students and staff at Monmouth paid off.
Deputy Head of School, William T, led the way with three A*s and an A to secure his place at University College London.
William, who lives in the Osbaston area of Monmouth, has secured his grades to read Philosophy, Politics and Economics.
However, William said: "I am considering whether to take a gap year before applying for a place at Oxford, so I have some big decisions to make.
"I want to thank all the teaching staff at Monmouth for their help and support over the years and it's hard to believe this is my last day here."
He added: "I am a superstitious person and I followed the same routine as I did for my GCSE results and came in to pick up my results personally.
"I collected my envelope, found a quiet corner at the William Jones Building and then opened it. I am delighted with the results."
Headmaster of Monmouth School for Boys, Dr Andrew Daniel, with some of the leading A level students, including William T (second left).
William G was another stand-out candidate, achieving two A*s and two As to study Mechanical Engineering at Imperial College London.
William has shone throughout his time at Monmouth, previously winning an Arkwright Scholarship for Design and Technology and gaining gold awards in national maths challenges.
Head of Sixth Form Centre, Richard L, secured three A*s and a B in his four subjects.
Richard, from Shirenewton near Chepstow, will be taking up his place at Durham University to read Classics.
Captain of Tennis, Max H, from Devauden near Chepstow, recorded three As and will now read Dentistry at Cardiff University.
Max will be joined in Cardiff by Monty R, from Tidenham near Chepstow, who also achieved three As to seal his place on the highly-regarded Dentistry course.
Deputy Head of School, Oliver J, who had a starring role as the ruthless policeman Javert in the outstanding musical production of Les Misérables, was awarded three As.
Oliver, a keen musician with the lower strings, is currently in Australia and is planning to take a year out before applying to study Medicine.
Samuel B, from St Briavels in the Forest of Dean, achieved two A*s and an A and will be reading Engineering at Durham University, while James B, who lives in Monmouth, secured an A* and three As.
Among the other high achievers were Elis B with two A*s and an A, who will be reading Economics at the University of Bath, and Harold N, from Coleford, who was awarded two A*s and two As to study Civil Engineering at the University of Bristol.
Dr Andrew Daniel, Headmaster of Monmouth School for Boys, said: "We are delighted that the majority of our boys achieved the grades to take up places at their first choice universities, including the elite Russell Group Universities, to study a broad cross-section of subjects.
"A total of 43.5% of all grades were A* to A which is comfortably above the national average of 26.4%.
"At Monmouth, the boys work extremely hard in their academic studies, and achieve results, alongside being involved in many other activities that contribute to our co-curricular programme."
Dr Daniel added: "As the boys move into a range of exciting university courses they leave us as confident and assured young men."
Outstanding A level results for Monmouth School for Boys
Pupils at Haberdashers' Monmouth Schools are today celebrating an outstanding set of A level results.
The two schools gained twice the national average for the top A level grades.
Monmouth School for Boys enjoyed its best results since 2012, with 21% of pupils achieving A* grades, and 55% A* to A.
Two boys – Sam and Jonathan – achieved a remarkable four A*s in their examinations.
A total of 76% of the boys were awarded A* to B grades and 28% achieved three or more A to A* grades.
The pass rate at Monmouth School for Boys was 100% which showed the dedication and hard work of Sixth Formers and staff.
Sam, who was the lead for a Minecraft project replicating Monmouth School's historic buildings, sealed a place at Cambridge University with his outstanding four A* grades. Sam, who lives in Monmouth, also ran the school's hugely successful altitude ballooning club, will read Computer Science at Robinson College.
Skenfrith's James C, who was part of the school's winning Young Rewired State's Festival of Code competition, achieved three A*s and an A to seal his place to read Computer Science at Keble College, Oxford University.
The vice-captain of the first VIII rowing team, James B, was awarded three As to confirm his place at Oxford University.
James, who lives in Monmouth and was also the leader of the school's lower strings orchestra, will study Classics at Corpus Christi College.
Head boy, Joe, from Bettws Newydd, near Usk, will be studying History at Durham University after being awarded an A* and two As.
Deputy Head Boy, Dan, who was also captain of the football team, will be reading International Management and Modern Languages at the University of Bath after achieving three A*s and an A.
Dylan was awarded an A* and two As and will study Medicine at King's College London and Harry, from Magor, will also study Medicine, heading to Cardiff University after securing three A*s.
Zelig, from Coleford, who was leader of the upper strings orchestra and a tennis captain, will also be reading Medicine, at the Queen Mary University of London, having achieved two A*s and two As.
Dr Andrew Daniel, Headmaster of Monmouth School for Boys, said: "We are particularly pleased that the boys achieved such outstanding academic results while also contributing with great energy and enthusiasm to the many areas of our co-curricular programme.
"We achieved our best set of results in five years – with 55% achieving A* to A grades, and 76% A* to B. These headline statistics are very strong indeed, and something for the boys and staff to be proud of."
EXCELLENT GCSE RESULTS FOR MONMOUTH SCHOOL FOR BOYS
Four pupils at Monmouth School for Boys achieved a clean sweep of A* grades and 19 gained A*s to A.
A total of 93% of pupils attained A* to C grades, with 35% achieving an A* and 81% celebrating A* to B grades.
Pupils were also among the first cohort to receive grades in a numerical format as opposed to letters.
Under the new system, 9, 8 and 7 are equivalent to A* or A, while 6, 5 and 4 are equivalent to B or C.
Adam, Jack and Joe achieved outstanding exam results
Two of the boys' leading performers were Joe, from Llandogo, and Jack, from Devauden near Chepstow, who both achieved 11 A*s and a 9 in English.
Keen footballer Adam scored nine A*s and a 9 in English, while Matthew, who was also awarded nine A*s, achieved an 8 in English.
The boys excelled particularly in IGCSE examination subjects which are more theoretical and exam-based than GCSEs, and are regarded as more challenging.
An impressive tally of 40 pupils gained A* in Biology with 81% awarded A* to A grades.
A total of 76% of pupils achieved A* to A grades in Maths, while that figure was 74% for Physics and 71% for both History and Chemistry.
A solid 59% of pupils achieved A* to A grades in English Literature.
Other highlights included cross-country runner Robbie who was awarded eight A*s, an A and a 7 in English and Antony, from Newport, who achieved eight A*s, an A and a 9.
Former triathlon champion Frank has overcome a life-changing diagnosis to secure four As, four Bs and a 6 in English.
Frank immersed his whole life in sport and was an outstanding rugby player until tests revealed he had an inherited heart condition.
Told to stop strenuous physical activity, he has since discovered a new passion for Music and Photography.
Dr Andrew Daniel, Headmaster of Monmouth School for Boys, said: "Following our outstanding A level results last week, we can be pleased with today's GCSE results.
"A total of 81% of boys achieved A* to B grades under the careful guidance of our dedicated teaching staff.
"Four students achieved a full set of A* grades and 19 gained a full set of A* to A grades.
"Our IGCSE results were particularly strong. The grades in Biology were excellent with 40 pupils achieving an A* grade and 81% securing grades from A* to A.
"The diligence and hard work of our boys has also been rewarded by the high number of A* to A grades in Maths, Physics, History and Chemistry.
"We are delighted that our students achieve such strong examination results alongside their very active involvement in the many activities in our extra-curricular programme."
A LEVEL RESULTS JOY AT MONMOUTH SCHOOL FOR BOYS
A level pupils celebrated a glowing set of results at Monmouth School for Boys.
The hard work and dedication of sixth formers and staff paid off with almost one in three candidates gaining all A* or A grades.
Monmouth School for Boys enjoyed its best set of results in four years, with 50.2% A* – A grades and three quarters of all grades A* – B. Three boys, Freddie, Dan and Sam all achieved four A*s.
Head Boy, Sam, will take up his place to study maths at Oxford after achieving a remarkable 4 A*s and 100% in his physics paper.
The 1st XIII rower said: "I was really nervous but excited this morning – my hands were shaking over my cup of tea! I was genuinely surprised and relieved when I opened UCAS to see my offer was confirmed."
Zac was awarded two A*s and an A and is excited to begin reading medicine at Oxford.
He said: "I mostly felt relief when I opened my results. All the hard work has paid off and I'm looking forward to what's next – it means a lot."
Freddie's four A*s will enable him to study medicine at King's College London.
He said: "Both of my parents are farmers, so I'll be the first medic in the family. I'm thrilled with my results. I'm hoping to specialise in forensic psychology or surgery and I'm very excited about embarking on my medical career."
Dr Andrew Daniel, Headmaster of Monmouth School for Boys, said: "Such strong results have allowed boys to take up places at their universities of choice, including Oxford and Cambridge, and the elite Russell Group Universities. We are particularly pleased that the boys achieved such excellent results alongside being involved in many other activities: many of our most committed sportsmen and musicians, for example, achieved outstanding grades. This is the hallmark of Monmouth School for Boys – the pupils certainly work extremely hard in their academic studies, and achieve outstanding results, but they also make highly valued contributions to a wide range of other activities in School."
BOYS CELEBRATE OUTSTANDING GCSE RESULTS
Focus and determination paid off as pupils celebrated outstanding GCSE and IGCSE results at Monmouth School for Boys.
43% of all grades were A*. Eleven boys gained at least eight A*s, and two pupils, Oli and Richard, achieved 11 A*s.
An impressive 68.6% of all grades were A* to A, 20 boys gained all A*s and As, and three candidates achieved a clean sweep of A*s.
Oli put in a huge amount of work to achieve his excellent results.
He said: "It's such a nice feeling to know all the effort paid off in the end.
"If you've got the right grades it means you can go anywhere you want – they're a passport for life.
"Teachers at Monmouth have been so supportive. They kept me calm at stressful times.
"My advice to pupils taking GCSEs is to trust your teachers and do what they say.
"It's also really important to take breaks and distract yourself from studying from time to time because otherwise the stress builds up.
"I love photography, so I went for lots of walks and took pictures when I needed a distraction."
Will, who has come up through the Haberdashers' Schools from nursery at Agincourt, achieved nine A*s and an A.
He said: "I set myself targets to complete a chapter or a topic at a time – it's a lot more rewarding that way.
"Going for a run in the mornings definitely helped me to clear my head too.
"I was very happy when I saw my results this morning."
Pupils also performed well in the more challenging IGCSE examinations.
At the boys' school, A*/A grades were awarded to 84.6% of biology papers, 83.1% of physics exams, 78.4% of chemistry papers and 74.5% of history candidates.
Dr Andrew Daniel, Headmaster of Monmouth School for Boys, said: "The jewel in the crown is that our percentage A* has increased to a superb 43%. This reflects very well indeed on the great efforts of our students, and is particularly impressive given that many of these boys are very actively involved in our extra-curricular programmes. The staff and I are so proud of the achievements of this year group, and they have certainly set the foundations for excellence in the sixth form at Monmouth School for Boys."
2015 A Level Results…
A level pupils celebrated a glowing set of results at the Haberdashers' Monmouth Schools. The hard work and dedication of pupils and staff paid off with almost one in three students gaining all A* or A grades.
Monmouth School for Boys gained its second highest percentage of A* grades with 22.3% of all exams being awarded the coveted A* grade. 45.2% of exams were graded A* or A and four boys achieved an astonishing 4 A* grades with a further seven gaining 3A* grades. The following pupils were awarded 4A*s and will take up their places at Oxford: Tim to read chemistry, James to read engineering, William to read mathematics and Ben to read physics.
Harri, Tom, Jamie, Matthew, Jordan, Joel and David all pulled off a hat-trick of A*s. Deputy Head Boy, Jamie, will take up his place to study English literature at King's College, Cambridge. Ben gained 1 A* and 3 A grades to wrap off a summer which also saw him win a national computing competition as part of team Buoy, alongside Harri.
Dr Andrew Daniel, who has just taken up the post of Headmaster at Monmouth School for Boys, said:
"Monmouth School for Boys pupils can be hugely proud of the excellent set of A Level results that they have received today, and they have made my first week as Headmaster a very happy one! The boys have worked extremely hard and made great progress in their final year in our School, and I thank the hard-working staff of the school for their caring and expert support. No less than 29 boys achieved at least three A grades. It is particularly pleasing that many of our high performers have also achieved excellence in a wide range of other activities at Monmouth School for Boys, with leading sportsmen and musicians receiving many top grades. As our boys move into a wide range of exciting university courses they leave us as confident and assured young men."
Focus and determination paid off as pupils celebrated outstanding GCSE and IGCSE results at the Haberdashers' Monmouth Schools.
At Monmouth School for Boys, 30% of boys achieved 10 or more A* to A grades and there were 14 pupils, in the cohort of 89, with eight or more A* grades.
Matthew, who was pivotal in a project to recreate a true-scale version of Monmouth School for Boys in online game Minecraft, was awarded 11 A*s.
He said: "I haven't been this excited for a while – I'd prepared myself for worse results but this is the best possible outcome by a mile.
"There is honestly no substitute for revision and hard work. I studied for up to six hours a day at Christmas time and then upped it over Easter leading to exams.
"If you get your head down, you can do it."
Matthew hopes to study computer science at university in the future.
Another four boys, James, Will, Calum and Henry were awarded at least 10 A*s.
Budding football star Dan, who plays for the School's 1st team, is celebrating nine A*s and an A grade.
At Monmouth School 36.2% of all grades were A*s, with 84.4% of pupils gaining A* to Bs.
Headmaster Andrew Daniel said: "Following our outstanding A level and AS level results last week, today we can celebrate the very strong GCSE results achieved by Monmouth School for Boys. No less than 27 boys were awarded 10 or more A* or A grades. The GCSE results are a great reward for these pupils, given their diligent work to prepare for the examinations.
"With almost two thirds of all grades awarded at A* or A, our boys are very well prepared indeed for success in their future studies. I would particularly like to commend this year group for the impressive academic progress that they have made, under the careful guidance of our expert teaching staff."
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Penn State Wilkes-Barre baseball team captures division championship
Team wins its first championship since 2000
The Penn State Wilkes-Barre 2019 championship-winning baseball team. Left to right, standing: Head Coach Mike Tierney, Assistant Coach James Crossley, Jackson Shaver, Zach Conway, Tanner Williams, Zach Sott, Jordan Choman, Brian Hardiman, Sean Paul Williamson, Chancellor Dale Jones and Athletic Director Scott Miner. Left to right, kneeling: John Fagotti, Robb McClay, Michael Sikora, David Staskiel, Leroy Fettig and Brandon Hardiman.Image: Penn State
LEHMAN, Pa. – The Penn State Wilkes-Barre baseball team won its first regular season championship of any kind since 2000 by finishing 12-3 in the PSUAC East Division and earning the No. 1 seed in the PSUAC conference playoffs. The team, led by third-year Head Coach Mike Tierney, is loaded with many talented players from the Wyoming Valley.
The starting pitchers were led by Brandon Hardiman (Northwest High School), with a 2.18 ERA in 34 innings, and Jordan Choman (Holy Redeemer High School) with an ERA of 2.91 in 34 innings. Brian Hardiman, Jackson Shaver and Tanner Williams also started multiple games.
Zack Sott (Wyoming Valley West High School) led the offensive attack with a .400 BA and 15 stolen bases, while Tanner Williams (Wyoming Valley West High School) hit .373 with 19 RBI, Sean-Paul Williamson (GAR) hit .338, and Leroy Fettig (Coughlin High School) had 22 RBI to lead the team.
Wilkes-Barre clinched the division with a 5-0 win over Penn State Schuylkill behind five strong innings from Brandon Hardiman and two shutout innings from John Fagotti (Pittston Area High School), earning his second save of the season.
The team will now head to the PSUAC championships beginning May 5at Showers Field in DuBois. They will face the No. 2 seed from the PSUAC West Division at 10:00 am that day.
Penn State Wilkes-Barre employees volunteer for Community Reading Day
Penn State Wilkes-Barre men's basketball team wins championship, makes history
LeShawn Hammett named USCAA Men's Basketball National Coach of the Year
Athletics, Campus Sports

redpajama_set_name: RedPajamaCommonCrawl


text:
Market research is an organized effort to gather information about target markets and customers: know about them, starting with who they are. It is an important component of business strategy and a major factor in maintaining competitiveness. Market research helps to identify and analyze the needs of the market, the market size and the competition. Its techniques encompass both qualitative techniques such as focus groups, in-depth interviews, and ethnography, as well as quantitative techniques such as customer surveys, and analysis of secondary data.

It includes social and opinion research, and is the systematic gathering and interpretation of information about individuals or organizations using statistical and analytical methods and techniques of the applied social sciences to gain insight or support decision making.

Market research, marketing research, and marketing are a sequence of business activities; sometimes these are handled informally.

The field of marketing research is much older than that of market research. Although both involve consumers, Marketing research is concerned specifically about marketing processes, such as advertising effectiveness and salesforce effectiveness, while market research is concerned specifically with markets and distribution. Two explanations given for confusing Market research with Marketing research are the similarity of the terms and also that Market Research is a subset of Marketing Research. Further confusion exists because of major companies with expertise and practices in both areas.

History
Although market research started to be conceptualized and put into formal practice during the 1930s as an offshoot of the advertising boom of the Golden Age of radio in the United States, this was based on 1920s work by Daniel Starch. Starch "developed a theory that advertising had to be seen, read, believed, remembered, and most importantly, acted upon, in order to be considered effective." Advertisers realized the significance of demographics by the patterns in which they sponsored of different radio programs.

The Gallup Organization helped invent the public opinion poll; today, "Market research is a way of paying for it."

Market research for business/planning
Market research is a way of getting an overview of consumers' wants, needs and beliefs. It can also involve discovering how they act. The research can be used to determine how a product could be marketed.  Peter Drucker believed market research to be the quintessence of marketing.
Market research is a way that producers and the marketplace study the consumer and gather information about the consumers' needs.
There are two major types of market research: primary research, which is sub-divided into quantitative and qualitative research, and secondary research.

Factors that can be investigated through market research include:
Market information:  Through market information one can know the prices of different commodities in the market, as well as the supply and demand situation. Market researchers have a wider role than previously recognized by helping their clients to understand social, technical, and even legal aspects of markets.
Market segmentation: Market segmentation is the division of the market or population into subgroups with similar motivations. It is widely used for segmenting on geographic differences, demographic differences (age, gender, ethnicity, etc.), technographic differences, psychographic differences, and differences in product use. For B2B segmentation firmographics is commonly used.
Market trends: Market trends are the upward or downward movement of a market, during a period of time.  Determining the market size may be more difficult if one is starting with a new innovation. In this case, you will have to derive the figures from the number of potential customers, or customer segments.
SWOT analysis: SWOT is a written analysis of the Strengths, Weaknesses, Opportunities and Threats to a business entity. A SWOT may also be written up for the competition to understand how to develop the marketing and product mixes. The SWOT method helps to determine and also reassess strategies and analyze a business's processes.
PEST analysis: PEST is an analysis about external environment . It includes a complete examine of a firm's Political, Economical, Social and Technological  external factors, which may impact firms' objectives or profitability. They may become a benefit for the firm or harm its productivity.
Brand health tracker: Brand tracking is way of continuously measuring the health of a brand, both in terms of consumers' usage of it (i.e. Brand Funnel) and what they think about it. Brand health can be measured in a number of ways, such as brand awareness, brand equity, brand usage and brand loyalty.

Another factor that can be measured is marketing effectiveness. This includes:

Data collection

"Rigorous sampling methodologies combined with high-quality data collection" is what the magazine Advertising Age considers the backbone of market research. Data collection can be done by observing customer behavior through in-situ studies or by processing e.g. log files, by interviewing customers, potential customers, stakeholders, or a sample of the general population. The data can be quantitative in nature (counting sales, clicks, eye-tracking) or qualitative (surveys, questionnaires, interviews, feedback). Aggregating, visualizing, and turning data into actionable insights is one of the major challenges of market research and today, text analytics affords market researches methods to process large amounts of qualitative information and turn it into quantitative data, which is easier to visualize and use for formalized decision making. Data collection can use larger audience samples than the few hundred or thousand typically used in market research. Also required is the (at least passive) cooperation of those being surveyed; trust is also helpful.

Some data collection is incentivized: a simple form is when those on the road contribute to traffic reporting of which they are consumers. More complex is the relationship of consumer-to-business (C2B), which sometimes introduces reliability problems. Other data collection is to know more about the market, which is the purpose of market research.

International influence from the Internet
The international growth of available research both from and via the Internet has influenced a vast number of consumers and those from whom they make purchases. Although emerging global markets, such as China, Indonesia and Russia are still smaller than the US in B2B e-commerce, their internet-fueled growth factor is stimulated by product-enhancing websites, graphics, and content designed to attract corporate and consumer/B2C shoppers. Estimates for 2010 show between US$400 billion and $600 billion in revenue was generated by this medium.

A report titled "Global B2C E-Commerce and Online Payment Market 2014" indicated a decrease in overall growth rates in North America and Western Europe, even as absolute growth numbers rose.

The UK Market Research Society (MRS) listed the top social media platforms primarily used by millennials are LinkedIn, Facebook, YouTube and Instagram.

Research and market sectors
Regarding details for worldwide corporate market research, "most of them are never written about because they are the consumer research done by the country's manufacturers."

Market research data has loss prevention aspects; that less than 60 percent of all proposed modifications and new products are deemed failures. When information about the market is difficult to acquire, and the cost of "going ahead with the decision" to offer the product or service is affordable, the research cost may be more profitably used "to ensure that the new line got the advertising send-off it needed to have the best chances of succeeding."

As measured in revenue, USA based Amazon is the worldwide E-Commerce leader.

Market research for the film industry
The film industry is an example where the importance of testing film content and marketing material involves:
 Concept testing, which evaluates reactions to a film idea and is fairly rare;
 Positioning studios, which analyze a script for marketing opportunities;
 Focus groups, which probe viewers' opinions about a film in small groups prior to release;
 Test screenings, which involve the previewing of films prior to theatrical release;
 Tracking studies, which gauge (often by telephone polling) an audience's awareness of a film on a weekly basis prior to and during theatrical release;
 Advertising testing, which measures responses to marketing materials such as trailers and television advertisements;
 Exit surveys, that measure audience reactions after seeing the film in the cinema.

Insights industry
Market research is an industry that overlaps with and is often referred to as the "insights" industry. However, the distinctive methods and techniques of market research not always correspond to the digital-first approach of insights vendors. The emergence of insights focusing on data analytics rather than fieldwork is competing with market research for managerial attention and funding. Current research with market research practitioners shows two pressing concerns for the industry: online data commoditization and the increasing distance between market researchers and top management within client organizations. Both concerns boil down to the risk they perceived of market research becoming a legacy activity of the marketing department rather than the cornerstone of business strategy.

Market research aims to produce so-called "actionable knowledge" that firms find useful in their operations:
 Framing managerial anomalies: an anomaly is a puzzle or a perplexing situation that the market research report is meant to solve.
 Loading instruments with meanings: translate observations of commonplace social practices into the marketing ontology.
 Signposting prescriptions: guide an intended reading to reduce interpretive flexibility.

Small businesses and nonprofits
Small organizations and non-profits can derive needed information by observing the environment of their location. Small scale surveys and focus groups are low cost ways to gather information from potential and existing customers and donors. While secondary data (statistics, demographics, etc.) is available to the public in libraries or on the internet, primary sources, done well, can be quite valuable: talking for an hour each, to twelve people, two apiece from six potential clients, can "get inside their minds.. get a feel for their needs, wants and pain. You can't get that from a questionnaire."

See also
 Marketing Research Institute International
 Mystery shopping
 Nielsen ratings

References

External links

Small Business Administration: Market research and competitive analysis

Business process

zh:市場調查

redpajama_set_name: RedPajamaWikipedia


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Wayfinding at Birmingham Museum and Art Gallery – how to navigate a Victorian labyrinth
Since last August a wayfinding project has been underway at Birmingham Museum & Art Gallery (BMAG) that will be completed next month and provide a brighter welcome to its visitors and subtle pointers to its treasures
The wayfinding project is a component of the Welcome All initiative, which aims to improve the visitor experience at BMAG, which celebrated its 130th birthday last autumn, through better physical access and visitor facilities, an enhanced family offer and visitor proposition, updated signage and refreshed interpretation in the museum's galleries.
The aim of the wayfinding project was to create a stronger and more appealing welcome at all BMAG entrances along with new directional signage and information to improve orientation around the site.
"BMAG is a large and intricate Victorian building constructed in and around the city's Council House, making it a notoriously difficult space to signpost effectively," says Hannah Carroll, Marketing Officer at Birmingham Museums Trust. "The wayfinding project proved to be larger and more complex than anyone anticipated, but we are confident that through careful thought and consultation with staff and the public, we have delivered the best solution possible."
In collaboration with the appointed design agency Renaissance Creative and the museum's own brand agency, Ledgard Jepson, BMAG worked with teams across the business from Visitor Services to Learning, to ensure that the needs of all audiences were factored into the final designs for the wayfinding.
A clear and consistent design scheme was introduced that is easily interpreted by as many audiences as possible, and in particular families, schools and non-English speakers. Plain English and icons were used where appropriate to highlight key facilities such as the toilets, shop and tearooms.
Improvements have been made to the main entrance and reception to increase the sense of arrival and ease of access. Higher profile signage was developed at all entrances and high visibility orientation points were established at key locations around the site. These include plinths dotted around the museum that do not overpower the artworks but keep visitors constantly updated on what's around them, where certain galleries and services are.
The designers have created attractive, clear, consistent and easy to follow directional signage throughout the venue, as well as supporting information such as. maps and guides.
"It is hoped that the new wayfinding scheme will help visitors to find highlights of the museum, such as the Ancient Egyptian galleries and the Birmingham History Galleries, that have strong appeal to families and tourists, but were previously not easy to find within the building," says Carroll. "By pointing more visitors in the direction of these galleries, we hope to engage wider audiences and to increase dwell time in the museum."
Anecdotal feedback and external research had shown that many visitors find it difficult to navigate their way around BMAG and that this can affect how much they enjoy their visit. "The new wayfinding scheme is a concerted effort to address this problem and to help visitors orientate themselves more easily and to thereby improve visitor experience," says Carroll. "We want visitors to make the most of their day and visit all areas of our wonderful collection as well as the delightful Edwardian Tearooms and shop."
In order to make the museum more accessible and welcoming the Welcome All project has seen improvements to toilet facilities with a number of toilets being redeveloped and an additional accessible toilet built.
Automated doors have been installed in the galleries to allow easier access for all visitors, including those with mobility problems. The visitor offer for families and carers with young children, has been enhanced through the establishment of a Mini Museum, specially designed for under-5s
The interpretation throughout the museum had been refreshed to improve accessibility to the collection for all audiences and to facilitate longer, more engaging visits.
Funding for the Welcome All project has included £260,254 from the DCMS/Wolfson Fund and additional funding from ACE, the City of Birmingham Museums & Art Gallery Development Trust and the Friends of Birmingham Museums.
In Focus: Audience Development
This case study is part of an In Focus feature on Audience Development. Click here to see the introduction and links to three more case studies
The Staffordshire Hoard: The Midlands marks a decade of Anglo Saxon heritage
Birmingham Museums Trust set to build new collections and cultural centre
Knights of the Raj exhibition moves from Birmingham to New York
Birmingham Museum & Art Gallery prepares for largest ever touring exhibition


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Guide to Reading Deleuze's The Movement-Image, Part I: The Deleuzian Notion of the Image, or Worldslicing as Cinema Beyond the Human
Crystal-image-eye: Deleuze's Worldslicing
[This is the first of a series of posts which form a reading guide to Deleuze's Cinema I & II. For the rest of the posts, see the sidebar of this website, where all the posts are listed on their own menu]
What precisely does Deleuze mean by cinema, and with it, the image? And why should a philosopher, or filmmaker, care? It seems to me that his radical notion of the image, straddling both philosophy and film, is so incredibly powerful, if often misunderstood. Many find his cinema books impenetrable, but once one understands precisely what he means by the term 'image', these books just open up. It's like putting on glasses, or at least, for me it was. What does it mean, for Deleuze, to do cinema, to image an aspect of the world?
For the start of the reading guide, skip a few paragraphs down to the section called 'The Deleuzian Notion of the Image', but first, a little context.
The Strange Case of the Cinema Books: Some Context as an Introduction
I'm currently teaching Deleuze's Cinema I & II, once again, to my students. And I think part of the reason I keep teaching these books, aside from the fact that at an art school they are so incredibly relevant, is that they are so incredibly, polymorphously fertile texts.
I find also that I am drawn to texts that are singular, so odd that one wonders how they came to be in the first place, even as these texts are too brilliant to be ignored. Texts like Leibniz's Monadology, Spinoza's Ethics, Bataille's early essays, Bergson's strange phenomenology, etc. In order to even begin to understand how they came to be, one often has to do arduous work of reconstructing the situation of the philosopher-artist who put them together. And I find this research to be of such a fruitful nature, it forces you to reconstruct the gesture behind a text, and in the process, come to understand what might be at stake to give birth to something singular as well.
Few know exactly what to make of Deleuze's two volume Cinema I & II. Philosophers often ignore them as being about film, and film-makers are often baffled by their dense, philosophical prose. Straddling genres, Deleuze's cinema project is truly a queer beast (and I use both terms here lovingly, and with all potential meanings!). And these books are texts I've written about before, including here and here, because, well, I'm fascinated.
Despite the fact that they are often overlooked, for being difficult, strange, and 'between' familiar genres, in so many ways, it nevertheless seems to me that this two volume monster is the crowning work of Deleuze's late philosophy. For philosophers to overlook these texts is to overlook the culmination, in many respects, of his life-work.
And for filmmakers to ignore these books because they are forbidding is just sad. Even if one doesn't understand fully what he is getting at philosophically, Deleuze always argued his books were meant to be used, put into assemblage with other modes of production. It's not a matter of getting them 'right', its a matter of being affected by them. Deleuze wanted his books to spur novel becomings, creativities on multiplie levels of scale, breaking up of psychic and social blockages.
And this is why these texts are so fundamentally in-between. For they ask the question what it might mean to think of philosophy cinematically, and cinema philosophically, and each as one and the same yet also different. Deleuze's project is a becoming-cinema of philosophy, and becoming-philosophy of cinema.
But even if you don't get all that, these books can still serve as a source of endless inspiration for philosophers and filmmakers alike. The random insights on each page spill off in every direction, even as the global structure lies under it all in its incredibly slippery brilliance. Whether you come for the surface insights or the deep-structure, these are great books, ones I never tire of spending time with, a source of continual inspiration, continually between the categories in which we traditionally divide our lives, and hence, perfect tools for thinking-outside.
Anyway, what follows is much of the content of what I teach my students to help them with these books. Hope it's helpful!
The Deleuzian Notion of the Image: From Image to Imaging
So, let's dive into Cinema I: The Movement-Image. One of the greatest difficulties in understanding Deleuze's massive text, a difficulty that often makes it difficult to understand even a single sentence or phrase, is that his notion of the image often confuses people. What does he mean by 'the image'?
Deleuze gets his notion of the image from Bergson's Matter and Memory, itself a difficult text. In the process of explaining Bergson, however, he radically expands the potential of Bergson's original idea. He spend several pages describing what he means by this notion (starting on pg. 57 in the Univ. of Minnesota version of the text). And while these pages present us with glimmering, inspiring prose, they are not necessarily clear. Poetic, yet not always accessible.
The entire universe is interconnected, but any individual aspect, any part of it, is an image. My body, a single atom, the planet Earth, the Sun, a dog, these are all images. This may seem like an odd usage of the word, but whenever confused, you can replace this word in your head with its verb form 'to image'. For each of these individual entities – my body, the Earth, an atom, etc. – these all depict or image the rest of the cosmos. They are refractions of the rest of what is.
This is why whenever I teach these books to my students, I explain to them the translation issues presented by the terms Deleuze uses such as 'movement-image', or 'perception-image'. Due to the ways in which adjectives are used in French, it would be equally as correct to translate these terms as 'image-OF-movement', image-OF-time', 'image-OF-perception.' I've found that whenever the meaning of what Deleuze is getting at in a passage baffles me, I can simply replace the version in the English translation with this equivalent, and usually it becomes so much clearer. Better yet, I try to remind myself that he means image as a verb, as an imaging. So, replace the word 'movement-image' with 'IMAGING-OF-movement', and you see what he's getting at.
A very famous perception-image from the news: A Congressman's self-photo in the mirror which loses him his job. His perspective is foregrounded, framed in the frame, a perception-image of a perception-image.
Namely, that anything in the world – my body, the Earth, a dog – these are imagings of the movement which is our cosmos. Even that which stands still, like a book on a table, is actually continually moving at the quantum level, as well as hurtling with the rest of us on Earth around the Sun at an incredible pace. Any entity or object is a slice of the movement of the universe. And it is an active slicing, because anything that appears solid to us is actually a verb, a continual action that repeats itself while things stay the same, and modifies when things become different. Deleuze argues elsewhere in his works that we need to think of all nouns as verbs, a green thing as a 'greening', a tree as a 'treeing'. The same goes with the term image, it is an imaging.
A Slice of the World
And so, an image is a slice, a slicing which gives us a slice of the cosmos. And there are many ways to slice up the world. Everything in the world is a slice of it. But there are different ways to slice the world, giving us different types of slice.
Deleuze says that an "IMAGE=FLOWING MATTER," and since all that is is flowing matter, an image is nothing more than a world-slice, a cosmos-slice, a universe-slice. But some ways of slicing emphasize some aspects of the universe over others.
Some ways of slicing the universe do so in a way which display the moving aspects of the universe, and these are called 'movement-images'. To make it easier for ourselves, however, let us replace this with 'imaging-of-movement', or even better, 'movement-slice'. Sounds strange, but it can really be helpful in understanding this text. Try it on a passage, I swear it works!
And so, if you emphasize the perceptual side of the world when you slice it, you produce a 'perception-slice.' Slice the world so as to emphasize its temporal dimensions, and you have a 'time-slice.'
World-Cinema, or Cinema-As-World: Or, Cinema=Worldslicing
And here we start to see the sheer power of Deleuze's concept of cinema. Any time the universe is sliced, we are imaging, and hence, doing cinema. When I grab a handful of dirt from the ground, by separating out a handful from the rest of the Earth, I am framing that handful, cutting it from the background, an hence, imaging. For each aspect of the world is a reflection-refraction of all the rest, for all is ultimately interconnected. The handful of dirt in my hand could not exist were it not for the gravity and other forces exerted upon it by the rest of the cosmos. This handful of dirt IS the rest of the cosmos, or at least, a reflection-refraction of it. And hence, it is a foregrounding of some parts of the universe over others, a framing. Just as one would move a camera to present a slice of the world to viewers, when I grab a handful of Earth from the ground, I am doing cinema, I am slicing the world, imaging the whole cosmos in one part.
A Walk Through my House as Deleuzian Cinema
Cinema=worldslicing. It is framing a part of the flowing matter of the universe, and then connecting that with others. Each of our days, as we go through life, is a film, a slicing, framing, and connecting of aspects of the universe. I leave my computer, walk into my bedroom, and the flowing matter presented to my vision changes. I move from the close-up of staring at my screen, to the medium shot of my bed. I am slicing up the world by means of the framing devices of my eyes, so similar to that of the camera which was abstracted from it.
And then I sit down to watch TV. I watch an image presented to me in another frame, a frame within the frame presented by my eyes. The TV news is on. They present me with a clip of video taken by an eye witness. I realize I am seeing an image seen from the perspective of another. I am viewing an image which is an imaging of perception, a slice of the world which emphasizes, by its relation to other images, its perceptualness. I am viewing a perception-image.
I then find myself wanting a cup of coffee. I put a pot of water on the stove. I begin to see how the fire impacts the water, how the bubbles begin to emerge in the whole pot of water, how parts and wholes begin to interact, negotiating, which will boil off, which will settle down, which patters of bubbles will emerge, all as the fire affects the water, causing it to change amongst itself. I see the agony of decision ripping apart the water, forming new wholes, new parts, distorting, warping it. The perception of the flame by the water creates an attempt at motion, an attempt to flee the pot into a gaseous state, a consideration of an action. But between perception and action, there is affection. The pot of water as it starts to boil presents to my eyes an affection-image.
We must not think that each slice is only one thing, however. For the view of the boiling water presented to my eyes as affection-image is also clearly viewed from my eyes, and hence, represents me, if indirectly, my perspective on the world. It is a perception-image OF an affection-image. And both are movement-images, because they are images of the world which represent a transition, a movement, in the world. Any image, ultimately,. is a movement-image, that is, an image of the movement of the world. Perception, affection, and action images are simply types thereof.
As the water begins to boil, I see wafts of steam rise from the water. Rather than the framing of a perception-image, or the intertwined warping of an affection-image, I see a separation, distinction, as gas separates from liquid, one goes one way, one the other. I now have before me an action image. I pour the boiling water into my coffee cup, I see it mix with my (admittedly patheticly instant coffee) grinds, filling the cup, I see the volume of the cup is now full of dark liquid, all these are images of action in the world.
An affection-image, an imaging of the way in which heat affects water.
I mix milk now into my coffee. I see the strands of milk intertwine slowly with the coffee, patches of light and dark. I see before me that some of these strands last longer than others. The relative differences present a slice of the world which images the ways in which some processes of change endure longer than others. I am presented with an image of change, or difference, intertwined with duration, or sameness. I am presented with an image of time, a time-imaging, a slice of the universe which images time. This is a time-image.
This time-image reminds me of a similar scene in a Godard film. I see the image from that film, reconstructed in my mind's eye. I have a 'recollection-image'.
And then I am yanked back into my everyday life by the perception-image presented to me by my tongue: the coffee is too hot. I am reminded, not all images are visual! The heat felt by my tongue is a condensation of all the universe into a single sensation, framed from the rest of the universe by the perspective on it provided by my body, the tip of which is my tongue. The tip of my tongue is like the frame provided by my eye or a cinema camera, it slice up the world based on its 'perspective' on it, and in doing so, allows certain sensations, certain slices of the world, to be foregrounded over others.
Another famous affection-image cited by Deleuze: imaging how pain affects a face in Dreyer's 'Passion of Joan of Arc'
As I am still reeling from the heat of the coffee, I hear a bird chirp out the window. A perception-image provided to me by my ears, based on how they frame the world, slice it, the perspective on the world they provide me. I feel an emotion well up in me in response to that bird-song, I feel the waves of emotion, an affection-image, which calls up to my mind a memory of other birds at other times, a recollection-image.
A complex action-image: An image of movement, yet also an imaging of perception (the camera's, the human who took the photo's), an imaging of affection (the face of the man being hit, for example), and an imaging of the action of the body of one man on another.
A Deleuzian Typology, or the Crystal of the Universe
The universe is nothing but a crystal of images, reflecting and refracting each other. Each entity, by slicing the universe up in its own way, produces its own cinema, framing and cutting, slicing and imaging, producing perception-images of movement-images. When these lead to negotiations between multiple potential states, these perception-images lead to affection-images, which can lead to distinctions, or action-images, images of action-distinction. For if a perception image layers images as 'the same(yet different)' by virtue of being in the same frame, and affection-images show images colliding, transforming into each other as powers or qualities impacting each other, the same yet different by virtue of negotiating the same part-whole, then action images show differences being actually distinct, becoming distinct, acting up each other distinctly, etc. Difference has now come to the fore. And as Deleuze argues, as we get closer to time-images, we see how difference in the image is precisely what time is, the more difference present directly in an image, the more it captures time, the more it directly images not merely spatial movement, but the radical differing relation of movement to itself that humans have called the passage of time.
The tree-rings from Hitchcock's 'Vertigo': The trees rings are an image of time, of time/change/difference in the image, which I've remembered to use here because of the image of recollection of this scene I experienced earlier which made me think to make use of it.
Any movement-image has the potential to be any of the other types of images Deleuze describes. Any perspective allows any movement-image to become a perception-image, and from there, all the other are possible, depending on the manner in which they are intertwined.
Deleuze's cinema of the universe is post-human, he believes the universe is cinema, a continual self-refracting producing radical difference from within it, continually producing new perspectives upon its ever changing self. This does not mean that humans are perhaps not particularly adept cinematics. For we are a particularly complex intertwining of images, our bodies allow us to recognize, say, a given image as similar to another in the past, and by linking them together via our memory, despite the fact that they are radically separated in terms of their contexts, we produce a very abstract form of image, a recollection-image.
And yet, we are hardly the only entities in the universe with images of time. Deleuze makes clear analogies between the ways in which human brains work, and the ways in which the complex of cinema screens in the world are like a giant brain, each screen like a neuron, helping cinema view itself in its world-thinking. And each screen is like a mini-brain, linking together all the cameras and humans that produced it, like its neurons in turn helping it think one larger film-thought.
And yet cinema screens are created by humans. But what about the natural world? View the rings on a tree. Each ring links up all the growth in a tree which happened in a given year. Slice open a tree and you see an image of time presented in the rings. But it takes something as complex as the human mind to associate these rings with the time that produced them. The tree may have a direct image of time, but a relatively simple one. A tree has rings, and yet, isn't able to use them to link up with different time periods, because it doesn't know that it has an image of time. Only animals, as far as we know, and potentially some computers, can combine time images like this via recollection-images, and produce complex circuits such as recognition, association, dreaming, etc.
A Relational Image-Cosmos
It should not be thought that any particular image, however, means any particular thing. Take any clip of film, say, the image of my coffee cup on my table. Surround it in a film, before and after, with a shot-reverse-shot of my face, and the image of the coffee-cup on my table becomes a perception-image. Now take the same slice of film, and surround it by a different set of images. Show me asleep, then show the same clip of the coffee cup on the table, then me waking up. And now that clip of the coffee cup on the table, simply by being surrounded by different other images, becomes a dream-image, a variant of a recollection-image.
Images become different, become other than what they are/were, simply by being woven together differently. And this is why, for Deleuze, we must learn to "believe" once again in the world, and cinema can show us how to do this. For Deleuze firmly believes that the universe is not, like Nietzsche argues in some places, like a set of legos, made up of finite parts, and hence with a finite number of combinations. No, for Deleuze, there are infinite potential recombinations of our world, because entities, or images, are not like legos. They can be infinitely divided and redivided. And hence, there are infinite potential combinations and recombinations.
For Deleuze, the world is much more than just legos, it is infinitely divisible and redivisible, which is why we must always relearn, via cinema in all its forms, to believe in the world, believe in its potential to be radically new, and infinitely so. With infinite divisibility, there is infinite recombination and hence possibility . . .
Cinema is the practice of world dividing and redividing. The more intricate the relations, the more variety of ways we can relate and rerelate to our world. Cinema on screen can help us see new ways to view our world. It rearticulates the world, and in doing so, shows us potentially new ways to live life. For life and cinema are two sides of the same. Cinema is life, and life is cinema.
And it can always be done differently, in an infinite potential number of ways.
~ by chris on April 4, 2011.
Tags: deleuze, film, media theory, mediology
16 Responses to "Guide to Reading Deleuze's The Movement-Image, Part I: The Deleuzian Notion of the Image, or Worldslicing as Cinema Beyond the Human"
[…] The Deleuzian Notion of the Image: Slicing the World, Or Cinema Beyond the Human (via Networkologies) By Cengiz Erdem What precisely does Deleuze mean by cinema, and with it, the image? And why should a philosopher, or filmmaker, care? It seems to me that his radical notion of the image, straddling both philosophy and film, is so incredibly powerful, if often misunderstood. Many find his cinema books impenetrable, but once one underst … Read More […]
The Deleuzian Notion of the Image: Slicing the World, Or Cinema Beyond the Human (via Networkologies) « Minimal ve Maksimal Yazılar said this on	April 5, 2011 at 7:04 am | Reply
[…] Vitale has a nice post up on Deleuze's Bergsonian notion of the image as a "slice of time," or a […]
Slice of time | immanence said this on	April 10, 2011 at 9:39 pm | Reply
[…] a continuation of sorts of my last post on teaching Deleuze's Cinema I & II. Today I was teaching the second half of The […]
More on Reading Deleuze's "The Movement-Image": From the Affect-Image to the Relation-Image « Networkologies said this on	April 13, 2011 at 11:54 pm | Reply
Thank you very much. It clarified a lot of things to me. I always believed that one should talk, write or do imaging to translate the abstract to concrete and not to make abstract more abstract.
shambhu said this on	September 4, 2011 at 7:00 am | Reply
I don´t think that it´s correct to say "image-of-mouvement" because they are not separate entities; they are already, and "immediatly", image=mouvement
your site is interesting! do you read french? there´s a wonderful book on deleuze, kant, and hegel, by juliette simont, one of the best I´ve ever read on the subject – I think you would love it
antoine said this on	April 11, 2012 at 11:08 am | Reply
Hi Antoine-
I do read French, though slowly and not as well as I'd like. But while I see your point about "image-movement," I think that image OF movement makes sense in this context. Mostly, because of the Bergsonian manner in which each image is an imag-ing. And so, while perhaps one could say that translating "image-mouvement" might be more literally rendered as 'movement-imaging' rather than 'movement-image,' neither really works in English, they are clearly neologisms in need of explanation for the average English reader, and moreso, I believe, than would be necessary for the corresponding term in French. But I also like using 'of' here because it can have two meanings in English, which correspond to the lability of the French as well. Either way, the "image" terms that Deleuze developed are often really misunderstood by English speakers, and I think largely because the translation of these notions has been too true to the letter and not enough to the spirit of these notions, particularly in regard to the way Deleuze employs the Bergsonian notion of imag-ing. But I see your point, and you are right, translation is tricky business, and I think these sorts of difficulties need to be made clear to readers. Thanks for the input!
chris said this on	April 27, 2012 at 8:53 pm | Reply
this was so incredibly helpful! thank you so much!
Jeremy Johnston said this on	April 27, 2012 at 8:43 pm | Reply
thank u..most valuable lessons..thank u…sir
santhosh said this on	May 18, 2012 at 3:45 pm | Reply
" Due to the ways in which adjectives are used in French, it would be equally as correct to translate these terms as 'image-OF-movement', image-OF-time', 'image-OF-perception.'"
This is useful as a starting position but not something to maintain. It should be regarded as a temporary crutch until one has found one's legs. An image should never be confused with what it otherwise represents. In the Logic of Sense Deleuze still uses "image" in it's Platonic sense, as being of something (in the case of Plato it would be of an idea). But by the time Deleuze reaches the Cinema Books he has taken ownership of this term "image" and redefined it (in the same way "queer" was taken back by the gay community and redefined). To re-own the word.
The first candidate for a translation of Movement-Image is of course the "moving image" or "motion picture" but the problem with these terms is that they imply the image (of what will become the sense of that word) does not possess movement but is given it. The movement image as animated photographs for example.
But on the contrary the movement-image will be that image which is created in the interval between each frame of the film (between the "photograms"). It is not an image OF movement. It is movement itself. Now one might then ask, why then, call it an image? Why movement-image rather than just movement?
The task is to rewrite "image" as one which belongs to the interval – a version of which will be the "movement-image". Whereas an "image" OF movement would be something altogether different: for example, an "image" OF movement might be a particular frame from a Muybridge sequence – one which best *represented* movement. That would be an "image" OF movement, but it wouldn't be a movement-image.
This distinction is so very important. The movement-image redefines the word "image" wresting it from it's Plato's mouth. Taking ownership of it. It is dismantle the "eternal pose" which images and various philosophies had been trapped.
Where verbs were the essential actors in The Logic of Sense, it becomes nouns capable of carrying on this task in this Cinema books.
Carl said this on	September 23, 2012 at 2:22 am | Reply
Deleuze once described himself as a 'transcendental empericist'. This has a certain power because empericism is traditionally disparaged for not being transcendental.
But what the cinema demonstrates is that certain transcendental concepts are not beyond the domain of sense. Movement is not invisible. It belongs as much to empericism as anywhere else.
The cinema demonstrates that we can not only think of the difference between one frame and the next (and for example, write an MPEG compression algorithm using such thinking) but we can also sense this difference, which we otherwise call movement. Or movement-image. The image qualification keeps us within the bounds of Sense, that what is being invoked is not necessarily anything outside of an effect but at the same time foreshadowing the term "effect" as having wider scope. It is not deeper but it is wider as Deleuze notes in The Logic of Sense.
What Deleuze is aiming at is to treat the movement-image as a correction. That which is being corrected is the sequence of photograms, the filmstrip sitting on a light table, or on a nail in a film bin. That which is being corrected is the sequence of photographs in a Muybridge album. To "animate" Muybridge photographs is to, in a sense, correct them.
Now Deleuze, right from the beginning (Bergsonsim), which is astonishing, poses a distinction between quantitative and qualitative difference. In recent decades algorithms have evolved to compute the difference between traditional images (still frames) either for match-moving, depth-estimation, motion picture compression, commodity sorting and so on. Such algorithms are obviously quantitative. They look for what is "different" in order to extract what is the "same". To recognise. The differences they identify are just differences in degree. Not differences in kind. And the result of such algorithms often end up with holes in them.
In the cinema, as much as everyday life, the new does not appear to us as holes in what we're seeing. Our failure to recognise something does not mean we see, for example, a patch of black. We see something rather than nothing. We are unable to substitute some sort of placeholder for it. To put it on the backburner for repopulating later. Something of the thing insists on being there right from the start.
"It is not quite right to say the cinematographic image is in the present. What is in the present is what the image 'represents' but not the image itself, which, in cinema, as in painting, is never to be confused with what it represents." (Preface to the English edition, Cinema2, Gilles Deleuze)
Einstein's (Minkowski's) spacetime is spatial (hyperspatial). Versions of String theory are the same. Static. Frozen. Eternal. Platonic. It is against this diagram that Deleuze, on the back of cinema, writes. If we slice up this spacetime, or create cross-sections through it, nothing is really changed. The result remains as static as the spacetime it otherwise divides. The genius of cinema was to reverse this static diagram. To unfreeze movement in the first case, and then time. Not time as it exists in a representation, in a diagram, in an eternal pose, but time as it otherwise insists. The interval, or duration, as a prerequisite for any moment within it. To return from eternity to that which finds eternity, as no more than that still frame, caught in a jammed projector, which then begins to melt (Persona – Ingmar Bergman).
Carl said this on	April 14, 2013 at 1:06 am | Reply
Wonderful, thank you very much! It was very enlightening
eesss said this on	October 31, 2013 at 10:06 pm | Reply
A most interesting read. Anything regarding Deleuze, I find to be interesting, if written with care. You've written this with nice thoughts. Thank you.
Gaston Cavalleri said this on	May 23, 2014 at 2:02 pm | Reply
[…] French Philosopher Gille Deleuze's encounter with cinema is a useful, although to some it might seem surprising, critical framework in the BIM context. […]
Is BIM as good as it looks ? What Deleuze can teach us about BIM | Peter Raisbeck said this on	April 8, 2016 at 7:58 am | Reply


As we were flying into Oaxaca, the evening sun set the clouds ablaze. It made me wonder how this sunset looked from below, as most of the color seemed to float on top. I wondered if this bank of clouds were grey and gloomy below.
Life is Good because just when we think we can't take another grey and gloomy day, God shows us another perspective. It doesn't change the fact that we have another gloomy day to get through, but that the day can be can also be so much more. Paradoxically*, it can also be a day of great beauty.


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Burned for the Bible
James Mumford takes a look at the true story of a man who pioneered translating the bible into English; William Tyndale.
I do marvel greatly, dearly beloved in Christ, that ever any man should repugn or speak against the scripture to be had in every language. For I thought that no man had been so blind to ask why light should be showed to them that walk in darkness.
Seeing that it hath pleased God to send unto our Englishmen the scripture in their mother tongue, considering that there be in every place false teachers and blind leaders; that ye should be deceived of no man, I supposed it very necessary to prepare this Pathway into the scripture for you, that ye might walk surely, and ever know the true from the false.
It's almost impossible to imagine a time when you weren't allowed to read the bible for yourself. Today, Old and New Testaments have been translated into every language under the sun. There are Gideon bibles at every hospital and every hotel room in Britain. Copies of scripture are preserved in millions of churches, schools and homes around the world. But five hundred years ago it was a different story. In the Tudor England of Henry VIII, the only text available was in Latin, which only priests and scholars could read. And that Latin translation was itself out of date, the same edition having been in use for over 1200 years.
Many priests, commissioned to teach the people God's word, could not even read it themselves.
This was the frustration that faced a young student in 1512. When William Tyndale left home to study in Oxford he was appalled by the 'secret' status of scripture. The fact that his native countrymen in the Vale of Berkeley, farmers, shepherds and cloth-workers of the Cotswolds were barred from reading in their own language a bible locked up in ivory towers, infuriated the young man. He protested, "In the universities they have ordained that no man shall look in the Scripture until he (has studied) eight or nine years." He also attacked the explanation given by the elite, "They bark and say, "the scripture maketh heretics!" and "it is not possible for them to understand it in the English," because they themselves do not in Latin." Many priests, commissioned to teach the people God's word, could not even read it themselves. However, learning the original language of the New Testament and going back to the actual letters the apostle Paul wrote, came as a breath of fresh air to the stifled Tyndale. And he longed for others to breathe the same air. A contemporary historian records that it was on account of his "lamenting" the "ignorant state of his native country" that his vocation was decided. Disputing with a prominent clergyman who hated the very idea of translating the bible into English, Tyndale declared, "If God spare my life ere many years, I will cause a boy that driveth the plow to know more of the Scriptures than thou dost."
No vernacular translations of the bible had been, or were likely to be, authorised by the crown or by the church
There was only one problem with Tyndale's developing ambition. It was illegal. No vernacular translations of the bible had been, or were likely to be, authorized by the crown or by the church. Therefore, after years of learning the necessary skills in Oxford and possibly Cambridge, and after working as a clergyman in London, in April 1524 William Tyndale set out for Germany. It was no coincidence that Cologne and then Worms became the sites of his historic achievements. Ever since 1517, when an indignant monk called Martin Luther had sent Shockwaves through all of Europe by nailing to the door of the Castle Church in Wittenburg ninety-five theses – protesting against the corruption of the church and appealing for its reform – Germany had become the centre of various Reformations which ignited and divided 16th century Christendom. The Reformers said that Christians must return to their roots. To figure out what we really should believe and practise as followers of Jesus, we must go back to the bible. This conviction was so controversial because it involved a reaction against the contemporary understanding of the Church's tradition as a separate, distinct source of revelation in addition to Scripture.
The ugliest part of that tradition was its justification of 'indulgences'. This practice allowed you to purchase special papal decrees which claimed to ensure the release of dead relatives from purgatory or even your own forgiveness from sin. Yet this flew in the face of the bible's teaching. So Scriptura sola, 'by Scripture alone', became one of the great slogans of the Reformation. And Luther, declaring that "a simple layman armed with Scripture is to be believed above (an indulgence-decreeing) council without it", successfully translated the bible into the vernacular of his own peasant people. It was in Germany that Tyndale's personal project became part of the wider Reformation.
he became the first man to translate anything directly from Hebrew into English.
Despite Luther's influence, however, Tyndale had no English model for what he wanted to do in the 1520s. The New Testament had never before been translated from Greek into English. When he began translating Old Testament manuscripts in the 1530s, he became the first man to translate anything directly from Hebrew into English. His most recent biographer, David Daniel, wrote, "he is a pioneer." But the success of his immense task not only depended upon his linguistic skill (he was fluent in eight languages) but also upon his understanding of everyday English. Daniel also says of Tyndale: "part of his genius as a translator was his gift for knowing how ordinary used language at slightly heightened moments, and translating at that level (phrases such as) 'Am I my brother's keeper?', 'the burden and heat of the day', 'the signs of the times', 'a law unto themselves'." If God had intended the scriptures to be originally written in the language of the people, and to be widely read by the people, Tyndale reasoned that they must be rendered into the appropriate dialect. And marks of his success are many; it is estimated that Tyndale's translation has been read by ten thousand times as many people as Chaucer, forming the basis for the King James Bible in 1611 and the Geneva Bible used by the Pilgrim Fathers.
The New Testament translation was completed in 1525…and smuggled into England
Tyndale was appalled, however, by the reception of his work at home. The New Testament translation was completed in 1525, printed at Worms and smuggled into England, wrapped in bales of wood, cloth or sacks of flour. It was one thing for the English authorities to burn publicly Luther's 'heretical' tracts. But the fact that of 18,000 copies of his own Worms bible, only two survived, shocked Tyndale terribly. He never recovered from Cardinal Wolsey's consistently cynical campaign to deprive the people or destroy the Scripture. He was shaken "that ever any man should repugn or speak against the scripture to be had in every language." He was devastated by the clerical and academic opposition to his life-long project "to prepare a pathway into" it for all people, whether prince or ploughman.
The most gruesome of deaths was ensured
And it wasn't only his books that were burnt. In 1535, while he was living in Antwerp, carefully making revisions to a fresh edition of his New Testament, and industriously ploughing through the remaining books of the Old Testament, Tyndale was betrayed by a man he had befriended. Henry Phillips, a disgraced nobleman's son, was paid by an unknown but influential English clergyman and/or statesman to carry out a secret operation. Having been welcomed into his household, Phillips then handed Tyndale over to officers from the Court of Brussels. With loyal English merchants unable to help him, and far from his supporters in England, Tyndale was at the mercy of a monarchy fearful of and hostile to the Reformation. And across the channel, the establishment was overjoyed, having caught what they considered the biggest heretical fish, proof at least of the extent of Tyndale's influence and the importance of his work. After over a year of cold imprisonment, Tyndale was condemned as a heretic, degraded from the priesthood and, as Foxe's book of Martyrs informs us, "tied to the stake, and then strangled first by the hangman, and afterwards with fire consumed, in the morning at the town of Vilvorde." The most gruesome of deaths was ensured for a man who had plotted no rebellion, committed no crime, written no slander, but had simply believed in the Bible.
James Mumford is a Postdoctoral fellow at the University of Virginia. His research interests include bioethics, political theology and modern Catholic social thought. He taught bioethics in the University of Virginia's philosophy department. His first book, Ethics at the Beginning of Life: A Phenomenological Critique, was published in 2013 by Oxford University Press and was widely reviewed in both religious and philosophical circles. Mumford was an undergraduate at Oxford and a Henry Fellow at Yale. From 2010-13 he worked for leading British political think-tank The Centre for Social Justice. He currently writes on a range of ethical, political and social issues for The Guardian, The Daily Telegraph, The Huffington Post, The Spectator, The Hedgehog Review, The American Conservative and Standpoint. You can follow him on Twitter: @JamesACMumford.
The views and opinions expressed in this resource do not necessarily express the views of Vineyard Churches UK & Ireland
This article originally appeared in EQ magazine, 2001, October, Four:2. Published by Vineyard Churches UK.
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'US said NZ over-reacted in 2004 Israeli spy incident'
WikiLeaks cable reveals US said New Zealand tried to improve credibility with Arabs by jailing Israelis suspected of working for Mossad.
By JPOST.COM STAFF
Published: DECEMBER 22, 2010 02:16
(photo credit: Associated Press)
US diplomats criticized New Zealand's 2004 arrest of two Israeli citizens suspected of spying, saying the government tried to cozy up to Arab countries in order to increase exports to them, the Guardian reported on Tuesday, citing a recently released WikiLeaks cable.
The arrest and conviction of the two Israelis caused a major rift between New Zealand and Israel, with allegations that the two men and others involved in the incident were Mossad agents, reported the Guardian.
WikiLeaks: Syria suspects Israel of killing top Assad aide
2008 WikiLeaks cable shows US envoy's astute insight
US officials in Wellington told officials in Washington that New Zealand had "little to lose" from the collapse in diplomatic relations with Israel and was instead only trying to increase its lamb sales to Arab states.
The WikiLeaks cable written in 2004, after Wellington imposed diplomatic sanctions on Israel, said: "The GoNZ [government of New Zealand] has little to lose by such stringent action, with limited contact and trade with Israel, and possibly something to gain in the Arab world, as the GoNZ is establishing an embassy in Egypt and actively pursuing trade with Arab states."
Click here for full Jpost coverage of the latest Wikileaks
In a similar cable written two days later, the US further criticized New Zealand saying: "Its overly strong reaction to Israel over this issue suggests the GNZ sees this flap as an opportunity to bolster its credibility with the Arab community, and by doing so, perhaps, help NZ lamb and other products gain greater access to a larger and more lucrative market."
The two Israelis arrested in New Zealand were sentenced to six months in prison. Both men pleaded guilty to using the identity of a person suffering from cerebral palsy to apply for a New Zealand passport, but they denied working for Mossad.
The two men were released after serving two months behind bars and were then deported in October 2004, reported the Guardian.
Israel formally apologized and diplomatic relations were reinstated in 2005.


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Microsoft Kin Phones Will Get Apps, But When?
John Herrman
Filed to:Cellphones
Microsoft had told us that the Kin and Windows Phone 7 platforms would grow closer in the future, and under heat for the Kin's lack of, well, features, they've said it again. Microsoft's phone strategy is weird.
Microsoft Kin Review: The Best Cellphones You'll Never Buy
The Kins have an audience, a sense of style, and—a rarity from Microsoft—a coherent philosophy.…
Before the Kin shipped, Microsoft's Aaron Woodman hinted to us about Kin and Windows Phone 7's intertwining futures:
Why Microsoft Is Trying to Sell a (Smart) Dumbphone
Dumbphones are dead, right? So why—at the time of the great Windows Phone 7 resurrection—is…
He wouldn't confirm anything, but did say that a few years from now, we shouldn't be surprised to see a point where the two platforms are more interrelated. That may sound like a typical Microsoft "mañana, mañana" promise, but given the rate at which Microsoft cooked up both Windows Phone 7 and Kin, adjustments to either roadmap probably wouldn't be that difficult.
To be honest, that sounded distant, vague, and less like a promise about the next generation of products than a hope for the generation after that. But today, in an interview with ComputerWorld—after the Kin was pummeled for its lack of maps, apps, and Xbox integration despite its high monthly price—Microsoft gets more specific:
Over the longer term, we'll be merging [Kin and Windows Phone 7] platforms and having downloadable apps.
Ok, so the Kin will get apps. But still, it sounds like the Kin that you can buy now may never have apps—he seems to be talking about the "merged" Kin, or the next-gen Kin, or a Kin that depends on a software update that's years down the road.
Microsoft and Verizon go on to defend the Kin's smartphone data pricing, saying that the online Studio feature will prove its worth to consumers, but this bizarre messaging, combined with scathing early reviews, is going to start making people wonder: Was the Kin a mistake? [ComputerWorld]