African economies are facing a series of challenges to their post-pandemic recovery. Economic activity in the region is slowing to 3.3 percent amid global headwinds, including weak global growth and tightening global financial conditions. Elevated inflation rates and resulting policy tightening, as well as the rising risk of debt distress, are also impacting economic activity. While food insecurity in Sub-Saharan Africa was increasing before the onset of Covid-19, the pandemic and the food and energy crisis have contributed to the recent steep increase in food insecurity and malnutrition. Climate shocks, low productivity in agriculture, lack of infrastructure also contribute to rising food insecurity in the region. The economic fallout from the multiple crises affecting the region has lowered household incomes, increased poverty, widen inequality and heightened food insecurity. This report discusses short-term measures combined with medium- to long-term policy actions that can strengthen African countries' capacity to build resilience and seize opportunities to unlock productivity-enhancing growth while protecting the poor and vulnerable.
O presente documento descreve, articula e sistematiza um processo investigativo dedicado às problemáticas e implicações inerentes à digitalização e mediatização das artes performativas, com enfoque na dança contemporânea/performance, no contexto pandémico e pós-pandémico associado ao SARS-COV-2 em Portugal. Após o decreto de encerramento de todos os espaços de apresentação de espetáculos a 12 de março 2020, companhias, artistas e entidades culturais iniciaram uma partilha e difusão de conteúdos sem precedentes. O processo que se iniciou com a distribuição de obras, maioritariamente em formato vídeo, através de redes sociais e plataformas online, complexificou-se de forma não linear, passando por diversas transmutações ao longo dos dois confinamentos que pautaram os anos 2020 e 2021. Partimos de uma contextualização histórica e estudo da relação da dança com o vídeo e os seus diferentes modelos de relação — registo, vídeo-dança e hibridismo — recorrendo a exemplos de obras de artistas como Loïe Fuller, Maya Deren, Merce Cunningham e Anne Teresa de Keersmaeker. Esta dissertação visa explorar o papel dos instrumentos e recursos digitais enquanto substitutos e/ou complementos do “palco” histórico, durante a pandemia de COVID-19, fazendo uma análise detalhada das estratégias adotadas a nível nacional, e questionando a sua eficácia de difusão assim como a sua continuidade no período pós-pandémico. The present document describes, articulates, and systematizes a research process concerned with the issues and implications of the digitization and mediatization of performing arts, focusing on contemporary dance/performance, within the pandemic and post-pandemic scenarios prompted by the SARS-COV-2 in the Portuguese context. After the decree to close all venues on March 12, 2020, numerous companies, artists, and cultural entities began an unprecedented sharing and dissemination campaign of programmatic content. A process that began with the distribution of works, mostly in video format, through social networks and online platforms, became more complex in a non-linear way, going through various transmutations throughout the two confinements that defined the years 2020 and 2021. We start from a historical context and study of the relationship between dance and video and its different models of interaction — record, video-dance and hybridism — using examples of works by artists such as Loïe Fuller, Maya Deren, Merce Cunningham and Anne Teresa de Keersmaeker. In this sense, the present dissertation explores the role of digital instruments and resources as either substitutes and/or complements to the historical “stage”, making a detailed analysis of the strategies adopted at a national level, and questioning their diffusion effectiveness as well as their continuity in the post-pandemic period.
Durante la pandemia generada por el Covid-19 nos hemos visto como sociedad en la posición de desarrollar nuevas maneras de interacción, con lo cual se han ampliado mayormente las brechas sociales; entre sociedades que se encontraron con mejores bases económicas que facilitaron la rapidez en políticas de protección a la salud e inversión en el desarrollo de tecnología aplicada a la producción y comercialización de sectores económicos. Sin duda alguna, este es el inicio de un camino por emprender que aunque este sea incierto también es una gran oportunidad de creación y renovación para nuestros sistemas económicos e industrias. La industria textil en Colombia durante esta crisis se ha enfrentado a diversas problemáticas, como lo es la adquisición de materia prima necesaria para fabricación, es importante resaltar que la industria de la moda en Colombia permanece fluctuante y no se ha logrado un punto de crecimiento continuo. El panorama de crecimiento de la industria de la moda desde el 2021 ha brindado una gran previsión para los futuros años, y de manera expectante lograr la consolidación de la industria a los aportes que se realizan al país, según el Informe del Sistema Moda para agosto de 2021, se espera un aumento del 30% en el gasto individual de prendas, así como un 41% de incremento en las exportaciones textiles del país. El panorama del crecimiento en ecommerce de empresas colombianas durante el 2020 fue de 30,6% superando la facturación del 2019 por 7 billones de pesos, lo cual contrastado con el decrecimiento económico que presenció el país es un muy buen augurio. Por lo anteriormente mencionado que nos hemos fijado como objetivo de este trabajo brindarle una solución innovadora a la problemática por medio de la aplicación SuitHub, la cual tiene como fin brindarle una nueva experiencia en la compra de ropa colombiana, con la ventaja de que en primera instancia se le brindará al consumidor diferentes marcas colombianas de ropa hecha nacionalmente en conjunto con aquellas empresas colombianas que requieran nuestra solución para potencializar su presencia de marca de manera digital y a su vez, contribuir al crecimiento de la industria textil colombiana con visión a realizar una internacionalización.
Sihite, Y. A. (Yusia); Hamzah Marpaung, Devi Siti;
Sihite, Y. A. (Yusia); Hamzah Marpaung, Devi Siti;
Publisher: Widyagama University
In the era of the industrial revolution 4.0, the process of progressing the digital and computerized era has greatly increased and has affected almost all corners of the world in aspects of human life, where in this case the legal system in the world is also affected by the influence of digitalization. In the legal order affected by this era of digitalization is the practice of law, especially in the area of the judicial environment. Evidence of the digitization process in the judicial world is the introduction of Virtual Civil Courts, where in Indonesia it is known as the E-Court system. The E-court system is a service for registered users where they register online, make payments online, and estimate the payment online, calls are made through electronic channels and technical trials are conducted electronically. Especially in pandemic conditions like this, many countries are experiencing lockdowns that hinder this legal justice system. So that the digitalization system in the pandemic era like this is very beneficial for the ongoing legal justice system that is in force. During the Covid-19 pandemic, not many know how government regulations in law enforcement through dispute resolution are carried out through the e-court route, where since the Covid-19 pandemic dispute resolution through e-court has increased very significantly. The e-court itself has been regulated in Perma Number 1 of 2019 and (SEMA) Number 1 of 2020, because there are no other regulations governing e-courts, the problem of online trial regulation in Indonesia is almost the same as the American State. This research uses a method of approach that is normative juridical emphasizing the understanding and study of primary legal materials in the form of legal principles.
A pandemia COVID-19 representa um ponto de inflexão para a humanidade, incluindo para o mundo da arte. Trabalhadores culturais e os formuladores de políticas públicas tiveram que refletir sobre como reinventar as artes performativas assim como também compreender suas necessidades específicas. Esta pesquisa explorará essas discussões urgentes, sendo seu objetivo analisar as políticas públicas locais, nacionais e transnacionais que enfrentaram a pandemia, destacando aquelas criadas especificamente para as artes cênicas na Ibero-América. As principais perguntas da investigação são as seguintes: quais são atualmente as estratégias propostas para as artes cênicas na região?; é possível distinguir tendências subjacentes?; há convergência de políticas na Ibero-América? Para procurar as respostas, analisaremos as políticas públicas anunciadas e executadas entre março e outubro de 2020 por duas organizações transnacionais (SEGIB e OEI); quatro países (Argentina, Brasil, Portugal e Espanha); e seis cidades (Buenos Aires, Rio de Janeiro, São Paulo, Lisboa, Barcelona e Madrid). Escolheremos os órgãos públicos relevantes que realizaram programas culturais a cada nível de governança, principalmente os Ministérios da Cultura. Os nossos métodos de investigação incluem: i) análise individual de documentos primários (como leis ou decretos executivos); ii) análise comparativa de políticas e iii) netnography - para navegar por comunicações mediadas pela tecnologia. Ainda faltando algum tempo para estimar o impacto do COVID-19 nas artes, sugerimos alguns resultados para a região da Ibero-América. Em primeiro lugar, o nível de convergência de políticas dependeu principalmente do subperíodo de tempo e do hemisfério analisado. Enquanto medidas urgentes foram tomadas em todo o mundo no surto da pandemia, as assimetrias aumentaram até ao ponto que mesmo cidades no mesmo país optarem por estratégias diferentes em outubro. Apesar de vários exemplos em que a região exibe traços pós-coloniais, comunicações transnacionais fluentes e institucionalismo liberal também são visíveis. De facto, houve discussões compartilhadas que incluíram: i) a digitalização das artes performativas e o papel da cultura na nossa sociedade; ii) a necessidade de transparência governamental e participação cidadã; ou iii) a colaboração entre as cidades por meio da construção de relações interlocais. Estas discussões compartilhadas estão a aumentar a confiança no futuro da Ibero-América. This research examines a range of public policies for the performing arts sector in Ibero-America during the COVID-19 pandemic. The inquiry originates from the urgent discussions that took place during the developmental phase of pandemic response strategies on the local, national, and transnational level. The main guiding questions are: what are the current strategies proposed for performing arts in the region? Are there any underlying trends? Is there a discernible policy convergence in the region? To answer such questions, we analyze public policies announced between March and October 2020 from: two transnational organizations (Ibero-American General Secretariat (SEGIB) and Ibero-American Organization for Education, Science and Culture (OEI); four countries (Argentina, Brazil, Portugal, and Spain); and six cities (Buenos Aires, Rio de Janeiro, São Paulo, Lisbon, Barcelona, and Madrid). We focus on relevant public bodies that carry out cultural programs on all governance levels, the Ministries of Culture in particular. Our methods include: i) individual analysis of primary documents (such as laws or executive decrees); ii) comparative policy analysis, and iii) netnography to navigate through computer-mediated communications. Although more time is needed to fully comprehend the impact of COVID-19 on the performing arts, we suggest some results for Ibero-America. First, a level of policy convergence does occur relative to a sub-period of time and the hemisphere analyzed. Second, while urgent measures have been taken worldwide during the pandemic, strategic disparities exist insofar as cities in the same country opted for dissimilar strategies in October. Third, despite several examples of exchanges in regions of ostensive post-colonialism, fluent transnational communications and liberal institutionalism are also visible. Indeed, there were discussions that included the digitalization of performing arts, the role of culture in our society, the need for government transparency and citizen participation, and the collaboration among cities by cultivating interlocal relations. These shared discussions are boosting confidence in Ibero-America’s future.
Este es el primer artículo que analiza las medidas de digitalización que adoptaron los testigos de Jehová durante la pandemia y las consecuencias en su comportamiento. El artículo examina cómo afrontó esta comunidad religiosa los retos de la pandemia cambiando rápidamente a reuniones pregrabadas y por videoconferencia, lo que permitió la interacción online entre los congregantes. A partir de una encuesta y de varios grupos focales, se analiza el efecto de la digitalización de las reuniones en los sentimientos y las actitudes relacionadas con el aprendizaje de los testigos, investigando hasta qué punto los servicios religiosos realizados a través de medios digitales les afectaron en comparación con las reuniones presenciales en lo que respecta a las oraciones, las canciones, las asignaciones de oratoria, los comentarios del público y la interacción social, tanto en lo referente a roles activos como pasivos. Las principales conclusiones son que las reuniones digitales no disminuyeron sus sentimientos relativos a su relación con Dios ni su aprendizaje intelectual, pero tuvieron un rendimiento inferior al de las reuniones presenciales en lo que respecta a las canciones y la interacción social. Los autores reflexionan sobre cómo los testigos de Jehová, a pesar de mantener estrictamente las medidas relativas al COVID- 19 (no se reunían físicamente ni siquiera cuando lo permitía la ley debido a su respeto por la vida), gestionaban sus sentimientos en la experiencia trascendente de unir a los creyentes en un entorno virtual. This is the first paper to analyse the digitalisation measures that Jehovah’s Witnesses adopted during the pandemic and their behavioural consequences. The paper examines how the Witness community met the challenges of the pandemic by rapidly shifting to prerecorded and videoconference meetings, allowing online interaction between congregants. Based on a survey and focus groups, the effect of digitalisation of meetings on the feelings and attitudes to learning of Witnesses is analysed, investigating to what extent digitally-mediated religious services affected them in comparison with in-person meetings with regard to prayers, songs, speaking assignments, audience comments and social interaction, in both active and passive roles. The main conclusions are that digital meetings did not diminish their feelings of relationship with God or their intellectual learning, but performed less well than in-person meetings with regard to songs and social interaction. The authors reflect on how Jehovah’s Witnesses, while strictly upholding COVID-19 measures (they did not meet physically even where legally allowed due to their respect for life), navigated their feelings in the transcendent experience of uniting believers in a virtual environment.
The aim of this research is to analyze agricultural economic development in the pandemic era with the function of butterflies as agricultural pollinating insects with codes R12 and R47 in symbols of worship. The object of this research is agricultural pollinating insects, namely Butterflies. The research was carried out from literacy studies of journals, books, scriptures, and electronic media. The methodology used is descriptive analysis. The methods used include reflexivity, dynivity, and similarity. The results obtained that the Butterfly motif stores codes R12 and R47 which are the unification of religion and science. There is a natural morphology on the butterfly's upper wings in the form of seven individual lines (7). The bottom wing motif shows a pattern of three (3) small circles like the letter sin, there is also a protrusion of the inner wing that has a long motif with the pattern of the number one (1) like the letter lam, and the largest circle pattern with the number nine (9) on the inside like the letter mim, so it looks like 319 and sinlammim. The source of my reflexivity comes from the R12 which is positioned at the bottom. The number 19 out of 319 is also found in Covid-19 which has an economic impact. The butterfly carries the message of the formula resulting from the structure of creation on the wings with the Hahslm 472319 pattern. This formula gives the meaning of dynivitas (unification) in the Butterfly that religion and science are one unit. Besides that, there is also meaning in the life of a pandemic in the form of a link between the existence of butterflies that the agricultural process is carried out in a worship way through insects with a wing motif which shows that humans turn to God for worship. The novelty of this research is that the dynivtas formula stored in the butterfly's wings can be used as a lesson in agricultural ecosystems in the current pandemic economic era.
Sisca, S. (Sisca); Wijaya, A. (Andy); Grace, E. (Ernest); Candra, V. (Vivi); Sidabutar, N. (Novelyn);
Sisca, S. (Sisca); Wijaya, A. (Andy); Grace, E. (Ernest); Candra, V. (Vivi); Sidabutar, N. (Novelyn);
Digitization has become something that is inherent in our daily habits, one of which is shopping habits. In addition to shopping for Fashion products by visiting offline stores directly, consumers are also given the opportunity to purchase Fashion products online whenever and wherever they are. This study aims to determine the effect of consumer demographic characteristics on their preferences for shopping Fashion products offline or online. Data collection is carried out by distributing questionnaires online through whatsapp and telegram groups during June-July 2021, which resulted in 162 responses. Chi-Square and Kruskal-Wallis tests are used to test the hypothesis. The results prove that there are insignificant results between consumer demographic characteristics and preferred shopping method. Furthermore, research data also shows that more than half of the respondents still prefer to shop for Fashion products offline rather than online although in the Covid-19 pandemic situation because they want to evaluate the product physically.
The pandemic is forcing universities to carry out digital transformation simultaneously. However, the pandemic opened Pandora's box revealing the fundamental weaknesses of universities that make them unprepared to adapt to changing times. However, the pandemic can be an opportunity to transform the entire workforce in universities so that their existence remains relevant. The critical factor in this transformation is the leader. Today's leaders must change from traditional to digital. Digital leaders can be a catalyst for change to oversee digital transformation in universities. Therefore, this study intends to explain how the implementation of digital leadership in universities in Indonesia, especially since the world has been hit by a pandemic. The author uses the literature study method and interviews stakeholders in universities. The author finds that three fundamental challenges must be overcome: culture and mindset, human resource competence, and infrastructure. Higher education leaders must resolve these three challenges to ensure that digital transformation runs smoothly. The author argues that universities are still relevant to producing quality human resources and abilities according to the times. To maintain the relevance and role of universities, leaders need to implement changes holistically, starting by creating a holistic grand design, increasing human resource competencies, infrastructure development, developing a new mindset, creating progressive culture, to organizational restructuring.
Introduction: The outbreak of COVID-19 led the world to a new era of digitalization, as the mandatory worldwide social isolation in the first quarter of the year 2020 changed the communication between people to happen mainly through digital platforms. It is to be expected that due to time and money-saving aspects, remote working and studying will continue after the worse days of the pandemic, and hours of digital device usage will also remain massive in the future. Purpose: This scoping review aimed to identify existing research results and possible information deficiencies in the existing studies and compare empirical evidence of how the outbreak of COVID-19 has impacted the use of digital devices and, thereby, digital eye strain in adults. Methods: This scoping review consisted of eight qualitative descriptive survey studies. The main literature search was conducted on the 21st of March 2022 from three different databases, PubMed, CINAHL, and Academic search premier, using key search terms ("computer vision syndrome" OR "digital eye strain") AND ("covid-19" OR "sars-cov-2"). Only studies regarding adults (age limit 18 years), available in full text and published in English, were included. Results: The reported average increase in screen time after the outbreak of COVID-19 ranged between 2.1h – 4.8h ± 2.8h, raising the total screen time to 8.65h ± 3,74h - 11.1h ± 4.5h. The prevalence of digital eye strain ranged between 66.6% to 94.3%. The increase in screen time was the most reported risk factor for DES. Young adults were found to be more symptomatic than relatively older people. Even though the prevalence of DES remained quite the same compared to pre-covid time, the frequency and intensity of symptoms became more severe while total screen time increased in all age groups. Additionally, the median DES scores were higher for those whose screen time jumped more during the pandemic. The most common symptoms were headache, dryness of the eyes, eye strain, and eye fatigue. Conclusions: The results give an alarming sign of how this new era of digitalization may lead to epidemic worsening or even chronic state of digital eye strain in the future, especially among young adults, all students, and remote workers, if total screen time remains as high as reported in recent studies, adequate breaks are not taken care of, and proper ergonomics are neglected.