Outcome 1 - Health & Safety

A pretty in depth one here -

When working at a desk with computers there are certain health and safety to obey by to ensure you are keeping yourself healthy and relatively danger free.

· Your desk and monitor should be the right height and width for you to comfortably work. Monitors should be adjusted to the right height and tilted to suit your vision. They should also be clean, clear and flicker free allowing you to read easily.

· You should also have your screen positioned to minimise glare from direct lighting such as windows, overhead lights and lamps and the contrast and brightness of the screen should be set to a comfortable level.

· Your chair should be adjusted to the right height and tilted properly to support your back whilst working. You should also have a footrest below to allow your feet to rest, helping to maintain your posture.

· You should take regular breaks from the computer, stretching, moving, exercising etc. to break up working periods.

· When typing your keyboard should be set to the correct level for comfortable typing (using the small legs at the back of the keyboard.)

· Using wrist rests for key boards and the mouse should help to increase comfort whilst working at the desk as well.

· Keyboards and mice should also be kept clean to allow easier typing and reading keys.

· Object necessary should be kept close to reduce neck/ back movements.

· Desks should be kept clean to allow safe working space

· Temperatures should be kept at a steady comfortable temperature

· Noise should also be reduced to a low comfortable temperature.

Maintenance

Employers must maintain the workplace and any equipment required by the WHSW Regulations, including mechanical ventilation systems, in safe working order. Regular maintenance should be carried out and records should be maintained.

Cleaning

Workplaces should be kept clean, indoor surfaces should be capable of being cleaned, and waste material should not be allowed to accumulate outside suitable containers.

Space

Workers should be able to get to and from workstations and move about freely. The recommended minimum space is 11 cubic meters per person, including the space occupied by furniture, and the minimum area is 3.7 square metres per person.

Floors and stairs

Floors and traffic routes should not have holes and slopes or be uneven or slippery. Defects in floors should be guarded against. Floors likely to get wet should have a slip-resistant coating. Leaks and spills should be dealt with promptly. There should be no obstructions particularly at any place which is likely to cause slips, trips or falls. Handrails or guards should be provided on at least one side of staircases unless this obstructs access.

Windows

Transparent or translucent surfaces (e.g. windows) shall be made of safety material if necessary or protected against breakage and incorporate features to make them apparent. This refers to clear surfaces where there is a danger that someone might walk into them. If a window, skylight or ventilator can be opened, then it must be possible to do it in a safe manner. When open, the window should not create a hazard. Windows must be able to be cleaned safely.

Doors and gates

Doors and gates must be suitably constructed and fitted with necessary safety devices. These should be fitted to sliding doors to prevent them coming off tracks and to upward opening doors to prevent them falling back. Powered doors should be prevented from trapping people and if the power fails should be operable manually or open automatically. Doors which can be pushed open from either side should allow a clear view of the space close to both sides. (Regulation 18)

Toilets and washing

Toilets and wash stations should be in adequately ventilated and lit rooms and the toilets and rooms should be kept in a clean and orderly condition. There should be separate toilets and wash stations for men and women unless each is in a separate room which can be locked from the inside. Toilets need not be in the workplace or even in the building but must be available at all material times. Toilet paper in a dispenser and a coat hook must be provided. For women, suitable means should be provided for the disposal of sanitary dressings. Wash stations should be provided in the immediate vicinity of toilets. Clean hot and cold or warm water should be provided (preferably running water) together with soap and towels or other suitable means of cleaning and drying. Privacy must be protected in toilets and wash stations. The minimum number of facilities is specified (broadly - up to 5 people, 1 toilet and wash station; 6-25 people, 2 toilets and wash stations; 1 extra toilet and wash station for each subsequent 25 people). For men a mixture of toilets and urinals can be provided. On temporary sites toilets and wash stations should be provided as far as possible. On remote sites water in containers and chemical closets should be provided.

Water

Employers must provide wholesome drinking water and vessels from which to drink it. The water should normally be from the mains and if refillable containers are used the water should be changed daily. Drinking water taps should not be installed where contamination is likely. Drinking water or non-drinkable water should be clearly marked. Washing facilities should be provided for non-disposable cups.

Meals and restrooms

Facilities should be provided to eat meals at work where meals are regularly eaten, though your desk can count as a suitable facility. Eating facilities should enable hot drinks to be obtained or prepared.. Rest facilities must be provided for pregnant women and nursing mothers. These last two points are new and not found in previous legislation.

Outcome 1 - Legal

As a Graphic Designer Legal and statutory controls are a major issue. Factors such as Copyright and Licensing issues can play a big part on how you create your work and sell it onwards etc.

Copyright, one of the biggest factors, gives the creators of there work the rights to control the ways in which their material can be used. These rights start as soon as the material is recorded in writing or in any other way. There are no official registration systems though, so the whole issue of copyright can be quite a confusing and tricky subject. These rights cover factors such as:

· Copying

· Adapting or distorting

· Selling and distributing

· Communicating to the public by electronic transmission (including by broadcasting)

· Renting copies to the public

· Performing in public

In many cases, the creator will also have the right to be identified in there works and also have the power to object to the license if there work is distorted or edited in anyway.

Copyright basically protects literary, dramatic, musical and artistic works, published editions of works, sound recordings, films and broadcasts. Names, titles, slogans and phrases are also subject to copyright to create them as a trademark.

Material dose not need to even have a novelty, unique or aesthetic quality to be protected by copyright, it simply has to be the result of an independent intellectual effort. Technical descriptions, catalogues and engineering drawings are all examples of material that qualifies for copyright protection, whatever the subject.

Also Material on the internet is protected by copyright, under UK law copyright material sent over the internet or stored on web servers will generally be protected in the same was as any other material or media.

Licensing is also a major part in the legal and statutory rights within the creative industries. Very much like copyright, a License may be granted by a designer or artist (including musical) to whoever is requesting, so long as the designer or artist sees it fit. Once again just like copyrighting, the license could also cost for the client to use it, and depending on the agreement created by the two sides it may be that the client can use it as much as they won’t for the rest of their lives or they may only be able to use it as a one off.

Outcome 1 - Support

Trade Unions:

Support for the creative industries and various other sectors in terms of organisations as been available since medieval times, linked back to the guilds of the medieval European times. These guilds existed to help protect and support their member’s lives and careers, mainly by controlling the progression of ranks as the members were seen and the flow of funding for learning resources.

These guilds are pretty much the same as how a trade union works, helping to protect its members. Run by and for all the workers of its sector, they come together to achieve goals in main areas such as wages, conditions they work in and hours they work. The main purpose being to improve the quality and working conditions of all their members as well as supplying grants, financial support and helping start businesses.

The Artists Union:

One of the largest modern day unions to do with the creative industries is the Artists Union. This union was set up to help protect and improve the quality of work for visual artists around the world. One of the main problems with being an artist is liabilities such as the public, employers etc. etc.

One of the worst case scenarios would be if an artist was out working in the public or had placed a prop that could potentially injure someone or cause a big problem, ending up in the artist being sued; the Artist Union can help to protect the artist by providing public liability insurance.

Another way in which the artists union can help to protect designers and artist is they can supply them with equipment insurance. The tools and equipment an artist uses could cost a lot of money; modern cameras, imaging software, lighting props, various other tools, The artist union can help protect against the damage, theft or breakdown of these tools, allowing the artist to say in business and continue earning money as apposed to being out of action due to lack of equipment.

CIN:

CIN, helps to support the development of the creative industries in Derbyshire and beyond. Initially set up by a group of young creative business owners in Derby in 2001, CIN today is a well established organisation run by creative people for creative people. The help to provide services to help individuals build the relationships they need to be successful – relationships with other artists, with customers, suppliers, funders and others. CIN helps to bring smaller companies and artists together and share knowledge and experience as well as helping with funding and starting businesses

CIDA:

CIDA, the Cultural Industries Development Agency, is a support organisation for the creative and cultural sector with their activities primarily focused within the London boroughs of Hackney, Newham and Tower Hamlets areas. CIDA like other unions help businesses and arts organisations by providing information, business support, professional development training, networking & showcasing opportunities and by commissioning new work.

CEO:

Cultural Enterprise Office is one of Scotland’s business support and development service for creative businesses and practitioners.

Operating across Scotland, Thier based in Glasgow with satellite offices in Aberdeen, Dundee and Edinburgh. The full range of services is designed to enable artists to translate their talent into careers and sustainable businesses.

Design Factory:

Design Factory is a not-for-profit organisation that is committed to the long-term development of their region's creative industry and talent. Aspiring to be the best creative development agencies in the UK providing an international platform for the promotion and sustainable development of the region’s design sector. Once again, Design Factory as well as the other organistations are aiming to help support, fund and fight for artists within the creative industry.

Outcome 1 - Artists

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Maurice Benayoun

Maurice Benayoun (aka MoBen) is an Algerian is a new-media artist based in Paris who has won numerous awards for his work. His work employs various media, including (and often combining) video, immersive virtual reality, the Web, wireless technology, performance, large-scale art installations and interactive exhibitions.

Born in Mascara, Algeria in March 1957, he moved to France in 1958. In the 1980s Benayoun directed video installations and short films about contemporary artists, including Daniel Buren, Jean Tinguely, Sol LeWitt and Martial Raysse. In 1987 he co-founded Z-A, a computer graphics and Virtual Reality lab. Between 1990 and 1993, Benayoun collaborated with Belgian graphic novelist François Schuiten on Quarxs, a computer graphics world that explores variant worlds with alternate physical laws. In 1993, he received the Villa Medicis Hors Les Murs for his Art After Museum project, a virtual reality contemporary art collection.

After 1994 Benayoun was involved with more virtual-reality and interactive-art installations. One of these was described by Jean-Paul Fargier in Le Monde (1994) as "the first Metaphysical Video Game". One important work from this period includes The Tunnel under the Atlantic, finished in 1995. This was a tele-virtual project linking the Pompidou Center in Paris and the Museum of Contemporary Art in Montreal.

The Navigation Room (1997) and The Membrane (2001) were created for the Cité des Sciences de la Villette. The Navigation Room presented, through an innovative interface, highly personalized visits and content, ending with a web page dedicated to each visitor. The Membrane (2001) — the core of the exhibition Man Transformed — was a large surface breathing and feeling the presence of the visitors. The Panoramic Tables for the Planet of Visions pavilion for Hanover EXPO2000, directed by François Schuiten, was an innovative application of augmented reality. In 2006, together with the architect Christophe Girault, they created the new permanent exhibition inside the Arc de Triomphe, Paris, opening in February 2007.

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Janet Cardiff

Janet Cardiff (born 1957-03-15) is a Canadian installation artist. Born in Brussels, Ontario in 1957 Cardiff studied at Queen's University where she graduated in 1980. She also studied at the University of Alberta and graduated in 1983. She works in collaboration with her partner George Bures Miller. Cardiff and Miller currently live and work in Berlin. Cardiff first gained international notoriety for her audio walks in 1995.

Cardiff's installations and walking pieces are often audio-based. She has been included in exhibitions such as: Present Tense, Nine Artists in the Nineties, San Francisco Museum of Modern Art, NowHere, Louisiana Museum, Denmark, The Museum as Muse, Museum of Modern Art, the Carnegie International '99/00, theTate Modern Opening Exhibition as well as a project commissioned by Artangel in London. This project ("The Missing Voice (Case Study B)") was commissioned in 1999 and continues to run. It is an audio tour that leaves from the Whitechapel Library, next to the Whitechapel tube stop and snakes its way through London'sEast End, weaving fictional narrative with descriptions about the actual landscape. Cardiff represented Canada at the São Paulo Art Biennial in 1998, and at the 6th Istanbul Biennial in 1999 with her partner George Bures Miller.

In her Forty Part Motet she placed 40 speakers in 8 groups, each speaker playing a recording of one voice singing Thomas Tallis' Spem in alium, enabling the audience to walk through the space and "sample" individual voices of the polyphonic vocal music. This work is now part of the permanent collection of the National Gallery of Canada in Ottawa, Ontario, Canada.

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David Em

David Em is one of the first artists to make art with pixels. He was born in Los Angeles and grew up in South America. He studied painting at the Pennsylvania Academy of the Fine Arts and film directing at the American Film Institute.

Em created digital paintings at the Xerox Palo Alto Research Center (Xerox PARC) in 1975 with SuperPaint, "the first complete digital paint system". In 1976, he made an articulated digital insect at Information International, Inc. (III) that could jump and fly, the first such 3D character created by an artist. Em produced his first navigable virtual worlds in 1977, at NASA’s Jet Propulsion Laboratory(JPL), where he was Artist in Residence from 1977 to 1984. He also created artwork at the California Institute of Technology (1985 – 1988), and Apple Computer (1991). Em has worked independently since the early nineties.

His art has been exhibited in museums, including the Centre Pompidou, the Spanish Museum of Contemporary Art, the Musee d’Art Moderne de la Ville de Paris, and the Seibu Museum in Tokyo. His work is in the permanent collections of the Victoria and Albert Museum, the Mary and Leigh Block Museum of Art, theSanta Barbara Museum of Art, the Everson Museum as well as private collections.

Em's digital art spans multiple media, including printmaking, filmmaking, photography, and all-electronic virtual worlds. He has also worked with live performance and theater

Em's work has connections to surrealist and abstract painting and film. There are also strong landscape and architectural elements, and some pieces feature extremely geometric components.

Many of his early works done at the Jet Propulsion Laboratory in the 1970s have deep space-related themes. In the 1980s he incorporated light effects reminiscent of the French Impressionists, and in the 1990s he introduced otherworldly creatures into his work.

Creative Industry's Outcome 1

The creative industry is one of the UK’s largest contributors to the economy, generating nearly 8% (roughly 7.9%) of the gross domestic income for the UK. It’s also one of the fastest growing industry’s in the UK, growing an average of 9% per annum over the space of three years (1997 -2000) this is mainly been due to the rise in Advertising, TV and radio and software demands over this period.

Exports of the creative industry have also created impressive figures during this rise in demand. The industry contributed roughly £8.7billion to the balance of trade in this period totaling up to roughly 3.3% of everything that the UK exports! This then had a knock on effect with employment in the country, generating about 1.95 million jobs throughout the industry. (estimated in 2001) so between the years 1994 and 2001 the creative industry created a further 500,000 jobs, increasing its employment percent up to 5% as opposed to the 1.5% of the whole economy. These jobs were mostly in IT (+14&), advertising (+10%) and Design (+8%)

The creative industries are mainly made up from four sectors: Design, software, publishing and advertising.

The number of companies over this time had also grown quite dramatically, rising up to roughly 135,000 established companies in the industry. These can be split into two rough sectors: Software and Electronic publishing (roughly 56,000) and Music and the Visual Performing Arts (roughly 33,000), the other 46,000 fall into various different smaller categories.