Factors Influencing Customer Satisfaction towards E-shopping in Malaysia

Online shopping or e-shopping has changed the world of business and quite a few people have decided to work with these features. What their primary concerns precisely and the responses from the globalisation are the competency of incorporation while doing their businesses. E-shopping has also increased substantially in Malaysia in recent years. The rapid increase in the e-commerce industry in Malaysia has created the demand to emphasize on how to increase customer satisfaction while operating in the e-retailing environment. It is very important that customers are satisfied with the website, or else, they would not return. Therefore, a crucial fact to look into is that companies must ensure that their customers are satisfied with their purchases that are really essential from the ecommerce’s point of view. With is in mind, this study aimed at investigating customer satisfaction towards e-shopping in Malaysia. A total of 400 questionnaires were distributed among students randomly selected from various public and private universities located within Klang valley area. Total 369 questionnaires were returned, out of which 341 questionnaires were found usable for further analysis. Finally, SEM was employed to test the hypotheses. This study found that customer satisfaction towards e-shopping in Malaysia is to a great extent influenced by ease of use, trust, design of the website, online security and e-service quality. Finally, recommendations and future study direction is provided. Keywords: E-shopping, Customer satisfaction, Trust, Online security, E-service quality, Malaysia

Back to the future. The future in the past: ICDHS 10th+1 Barcelona 2018: Conference proceedings book

Obra dedicada a la memòria d'Anna Calvera (1954–2018).Conté: 0. Opening pages -- 1.1 Territories in the scene of globalised design: localisms and cosmopolitanisms -- 1.2 Designing the histories of southern designs -- 1.3 Mediterranean-ness: an inquiry into design and design history -- 1.4 From ideology to methodology: design histories and current developments in post-socialist countries -- 1.5 [100th anniversary of the Bauhaus Foundation]: tracing the map of the diaspora of its students -- 1.6 Design history: gatekeeper of the past and passport to a meaningful future? -- 1.7 Constructivism and deconstructivism: global development and criticism -- 1.8 An expanded global framework for design history -- 1.9 Design museums network: strengthening design by making it part of cultural legacy -- 1.10 Types and histories: past and present issues of type and book design -- 2.1 Design aesthetics: beyond the pragmatic experience and phenomenology -- 2.2 Public policies on design and design-driven innovation -- 2.3 Digital humanities: how does design in today's digital realm respond to what we need? -- 2.4 Design studies: design methods and methodology, the cognitive approach -- 2.5 Vehicles of design criticism -- 3 Open session: research and works in progress (1) -- 3 Open session: research and works in progress (2) -- Addenda: 10th+I keywords mapInternational Committee of Design History and Design Studies. Conference (11a : 2018 : Barcelona, Catalunya),ICDHS is the acronym of the International Committee of De­sign History and Design Studies, an organisation that brings together scholars from Spain, Cuba, Turkey, Mexico, Finland, Japan, Belgium, the Netherlands, Brazil, Portugal, the US, Tai­wan, Canada and the UK. Since 1999, when the Design and Art History departments of the University of Barcelona organised the first edition of the ICDHS, a conference has been held every two years at a different venue around the world. These conferences have had two dis­tinct aims: first, to present original research in the fields of Design History and Design Studies and, second, to include contributions in these fields from non-hegemonic countries, offering a speaking platform to many scientific communities that are already active or are forming and developing. For that reason, the structure of the conferences combines many paral­lel strands, including poster presentations and keynote speak­ers who lecture on the conferences’ main themes. The 2018 event is rather special. The Taipei 2016 conference was the 10th edition and a commemoration of the ten celebrations to date. Returning to Barcelona in 2018 marks the end of one stage and the beginning of a new one for the Committee. The numbering chosen—“10+1”—also means that Barcelona 2018 is both an end and a beginning in the ICDHS’s own history. The book brings together 137 papers delivered at the ICDHS 10th+1 Conference held in Barcelona on 29–31 October 2018. The papers are preceded by texts of the four keynote lectures and a written tribute from the ICDHS Board to its founder and figurehead, Anna Calvera (1954–2018). The Conference, and the book, are dedicated to her memory

Back to the Future. The Future in the Past. Conference Proceedings Book

ICDHS is the acronym of the International Committee of De­sign History and Design Studies, an organisation that brings together scholars from Spain, Cuba, Turkey, Mexico, Finland, Japan, Belgium, the Netherlands, Brazil, Portugal, the US, Tai­wan, Canada and the UK. Since 1999, when the Design and Art History departments of the University of Barcelona organised the first edition of the ICDHS, a conference has been held every two years at a different venue around the world. These conferences have had two dis­tinct aims: first, to present original research in the fields of Design History and Design Studies and, second, to include contributions in these fields from non-hegemonic countries, offering a speaking platform to many scientific communities that are already active or are forming and developing. For that reason, the structure of the conferences combines many paral­lel strands, including poster presentations and keynote speak­ers who lecture on the conferences’ main themes. The 2018 event is rather special. The Taipei 2016 conference was the 10th edition and a commemoration of the ten celebrations to date. Returning to Barcelona in 2018 marks the end of one stage and the beginning of a new one for the Committee. The numbering chosen—“10+1”—also means that Barcelona 2018 is both an end and a beginning in the ICDHS’s own history. The book brings together 137 papers delivered at the ICDHS 10th+1 Conference held in Barcelona on 29–31 October 2018. The papers are preceded by texts of the four keynote lectures and a written tribute from the ICDHS Board to its founder and figurehead, Anna Calvera (1954–2018). The Conference, and the book, are dedicated to her memory

Artificial cognitive architecture with self-learning and self-optimization capabilities. Case studies in micromachining processes

Tesis doctoral inédita leída en la Universidad Autónoma de Madrid, Escuela Politécnica Superior, Departamento de Ingeniería Informática. Fecha de lectura : 22-09-201

ASTRAL PROJECTION: THEORIES OF METAPHOR, PHILOSOPHIES OF SCIENCE, AND THE ART O F SCIENTIFIC VISUALIZATION

This thesis provides an intellectual context for my work in computational scientific visualization for large-scale public outreach in venues such as digitaldome planetarium shows and high-definition public television documentaries. In my associated practicum, a DVD that provides video excerpts, 1 focus especially on work I have created with my Advanced Visualization Laboratory team at the National Center for Supercomputing Applications (Champaign, Illinois) from 2002-2007. 1 make three main contributions to knowledge within the field of computational scientific visualization. Firstly, I share the unique process 1 have pioneered for collaboratively producing and exhibiting this data-driven art when aimed at popular science education. The message of the art complements its means of production: Renaissance Team collaborations enact a cooperative paradigm of evolutionary sympathetic adaptation and co-creation. Secondly, 1 open up a positive, new space within computational scientific visualization's practice for artistic expression—especially in providing a theory of digi-epistemology that accounts for how this is possible given the limitations imposed by the demands of mapping numerical data and the computational models derived from them onto visual forms. I am concerned not only with liberating artists to enrich audience's aesthetic experiences of scientific visualization, to contribute their own vision, but also with conceiving of audiences as co-creators of the aesthetic significance of the work, to re-envision and re-circulate what they encounter there. Even more commonly than in the age of traditional media, on-line social computing and digital tools have empowered the public to capture and repurpose visual metaphors, circulating them within new contexts and telling new stories with them. Thirdly, I demonstrate the creative power of visaphors (see footnote, p. 1) to provide novel embodied experiences through my practicum as well as my thesis discussion. Specifically, I describe how the visaphors my Renaissance Teams and I create enrich the Environmentalist Story of Science, essentially promoting a counter-narrative to the Enlightenment Story of Science through articulating how humanity participates in an evolving universal consciousness through our embodied interaction and cooperative interdependence within nested, self-producing (autopoetic) systems, from the micro- to the macroscopic. This contemporary account of the natural world, its inter-related systems, and their dynamics may be understood as expressing a creative and generative energy—a kind of consciousness-that transcends the human yet also encompasses it

Art in the Anthropocene: Encounters Among Aesthetics, Politics, Environments and Epistemologies

Taking as its premise that the proposed geologic epoch of the Anthropocene is necessarily an aesthetic event, this book explores the relationship between contemporary art and knowledge production in an era of ecological crisis, with contributions from artists, curators, theorists and activists. Contributors include Amy Balkin, Ursula Biemann, Amanda Boetzkes, Lindsay Bremner, Joshua Clover & Juliana Spahr, Heather Davis, Sara Dean, Elizabeth Ellsworth & Jamie Kruse (smudge studio), Irmgard Emmelhainz, Anselm Franke, Peter Galison, Fabien Giraud & Ida Soulard, Laurent Gutierrez & Valérie Portefaix (MAP Office), Terike Haapoja & Laura Gustafsson, Laura Hall, Ilana Halperin, Donna Haraway & Martha Kenney, Ho Tzu Nyen, Bruno Latour, Jeffrey Malecki, Mary Mattingly, Mixrice (Cho Jieun & Yang Chulmo), Natasha Myers, Jean-Luc Nancy & John Paul Ricco, Vincent Normand, Richard Pell & Emily Kutil, Tomás Saraceno, Sasha Engelmann & Bronislaw Szerszynski, Ada Smailbegovic, Karolina Sobecka, Zoe Todd, Richard Streitmatter-Tran & Vi Le, Anna-Sophie Springer, Sylvère Lotringer, Peter Sloterdijk, Etienne Turpin, Pinar Yoldas, and Una Chaudhuri, Fritz Ertl, Oliver Kellhammer & Marina Zurkow