- Compare and contrast two job descriptions for a CIO at a healthcare facility. You may use the links below (or if you locate other job descriptions, please include the links in your post).
- In your response, be sure to discuss job duties and analyze functional responsibilities of the chief information officer (CIO) and identify key knowledge, skills and abilities of the CIO position.
ach can be seen as a technique that tries to conquer not just explicit zones (sex imbalance, solid methods of portrayal and so forth) however the routine that gives their ground. Every endeavor to do this through a progression of basic re-framings and hypothetical positions that reveal the inalienable irregularities and interior crevices in the overwhelming talk. Roland Barthes' work Camera Lucida (2000) is a perfect case of how such thoughts can be converted into artistic and photographic hypothesis. In his idea of the punctum, for example, Barthes subtleties how time, assessment and individual intrigue can modify our gathering of a photo a long ways past the purposes of either the picture taker or the photographic model. The punctum, or as Barthes subtleties "a fractional item" (Barthes, 2000: 43) is what exists outside of the standardized perspective on what is representable in a photo, it omits direct visual acknowledgment and changes with every watcher and review; Barthes portrays his experience of a photo by William Klein from 1954 of destitution stricken youngsters in New York's Little Italy for example, regardless of the unmistakably socio-political message of the photo (a grown-up hand holding a weapon to a grinning kid's head) what could be considered the conventional illustrative, discerning significance, Barthes can not help but rather "obstinately observe one tyke's awful teeth" (Barthes, 2000: 45). In his thought of the "third significance", additionally from his article of a similar name, Barthes focuses to the unexpected and some of the time hilarious unintentional components of a photo or a still picture of a film, what he calls the heartless importance, discussing a still from Romm's Ordinary Fascism, he says: I can without much of a stretch read (in this still) an undeniable significance, that of dictatorship (style and symbolics of intensity, the dramatic chase), yet I can likewise peruse a heartless importance: the (once more) masked fair outlandishness of the youthful quiver-conveyor, the heaviness of his hands and mouth… Goering's thick nails, his trashy ring… For Barthes at that point, what was not planned to be spoken to – the natural phallic shakiness of the Nazi party – can be observed in photography, not in the components that structure the focal point of the image (the 'studium') yet those at the fringe that omit the normal and contemplated look. As Shawcross (1997) subtleties, Barthes' ideas here mirror the longing to challenge the sorts of talks we have taken a gander at above, it focuses on the significance of various readings when managing photographic pictures and furthermore endeavors to challenge customary (Western phallocentric) thoughts of single point viewpoint. Get help with your exposition today, from our expert article journalists! Qualified authors in the subject of logic are prepared and holding on to assist you with your examinations. Get help with your article View expertly composed examples In permitting such numerous readings, attests Barthes, the photos brings into inquiry the connection among picture and content and, all the more properly, uncovering the play that exists between the two. In a procedure that Barthes calls "port" (Barthes, 1977: 38) content binds the multi-faceted importance of a picture, smothering the common polyvocal nature of a photo and restoring the discerning quest for an interesting translation. In the arrangement of photos by Gillian Wearing, for instance, where conventional individuals from the open were captured holding up printed messages, for example, "I'm Desperate" and "Help", the content is thought to be the fundamental truth behind the photographic picture, featuring the degree that literary and semantic signifiers have truly commanded visual ones. Women's activist picture takers have frequently played with the natural slippage of significance inside the photographic picture; crafted by Cindy Sherman, for example, epitomizes a large number of the issues we have been examining here. Captured in a progression of amusing and notable stances and 'masks' Sherman's work is both postmodern, in that it is self referential and kitsch however it is additionally viewed as women's activist in that it endeavors to rediscover and recover patriarchally developed pictures of womanhood (>GET ANSWER