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Why should you get involved in employee recognition?

Recognition- Cognitive Ability

Firstly, because you can use the principles to great effect in your own working relationships and personal relationships. Secondly, because employee recognition has a huge communication component! Recognizing people for their good work sends an extremely powerful message to the recipient, their work team and other employees through the grapevine and formal communication channels. Employee recognition is therefore a potent communication technique. Despite the unquestioned benefits arising from employee recognition, one of the mysteries of the workplace is that recognition invariably is done badly, if done at all.

Managers need reinforcing and coaching. They need a program, principles and procedures to help them apply recognition effectively within their area of responsibility. Employee recognition remains an undervalued management technique. The results can be used to prove the need for greater employee recognition. This figure is as conclusive as you could get — it resulted from interviewing 2.

The cost of a recognition system is quite small and the benefits are large when implemented effectively. Meta-analysis conducted by the Gallup Organization of the results from 10, business units in 30 industries found [a meta-analysis is the statistical analysis of results across more than one study]. These principles are timeless; further research shows they are universally consistent:.

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Measuring the direct impact of recognition on profitability is difficult because it is only one of many factors influencing employees in every workplace. However, case studies make a persuasive case that bottom line benefits have been achieved through recognition schemes. These results correlated highly with high guest-satisfaction scores, which showed a strong intent to return, and therefore directly flowed to increased profitability. The handle of a metal chair, 2. Although algorithms have been utilised by artists in the past, now that the significance of such technologies is more widely understood and experienced, it becomes increasingly possible, interesting and necessary for tech-related art practices to reflect upon this new reality as a subject and context for art.

The algorithms exploited by the Recognition system are arguably the same, or very similar to, algorithmic processes that increasingly mediate everyday life and culture, from powering the processing of images shared on social media platforms such as Facebook, to analysing shopping behaviour on e-commerce sites such as Amazon.

A purist approach therefore makes for an out-dated software-art practice i. The project is interesting in the way it has reconfigured these disparate giants from the worlds of software, news and art into a new mode of co-operation, resulting in delightful and often astounding results. But, arguably, the project falls short by failing to critique a shared and rising faith in the unknown potential of new technologies.

Perhaps this is why I have chosen to highlight the pairing of a car interior and a Henry Moore sculpture. This new wave of optimism towards emerging technology, and the use of art to promote it, has manifested in a project that has fortuitously identified similarities with the past: Artists now working with, and experts in, these emergent technologies must find a balance between close entanglement and critical distance, and bring to light, poke, or ridicule the challenges that will inevitably come with the great benefits.


These two images evoke destruction in very different ways their stories are very different ; but placed side by side, it is as if the debris strewn over what appears to be an old commercial street on the left following an unspeakable act of violence could have formed the raw material used in making the sculpture on the right. In each image, and through their comparison, remnants of destruction become symbolic. They refer to the fragility of everyday life, but also the violence under the surface.

In the 19th century, artists like Caspar David Friedrich, Hubert Robert and Victor Hugo were interested in the destructive forces of nature and time, famously depicting the beauty of ruins. Here, even without understanding the context of each image, we can suppose the acts of violence were intentional. In comparison, the horrific sense of emptiness in the news image becomes a sense of fullness in the sculpture, as if the latter accumulates the material elements of the former.

Does this comparison constitute paradox, analogy or enigma? It allows us to re-read art history and all of visual culture, including 'news' photography through the ideas of Marcel Duchamp the first artist to show that any everyday object could be an artwork, what he called 'readymades' and his adage that in addition to the artist or photographer , the viewer completes the work as they find it.

I have selected the pairing of a photograph taken on 15 November by Thomas Mukoya featuring over illicit firearms collected in Kenya near the capital Nairobi, and a painting entitled Canterbury Cathedral from by Dennis Creffield. The images may seem incredibly different, particularly in terms of subject matter, but are noticeably similar in composition. The different algorithms used by the Recognition program allow it to scan each image in an attempt to isolate objects and shapes it recognises.

On the Recognition site the code highlights sections of paired images where it thinks it has found identical objects or visual similarities — although often, in reality, these are quite different things, compositionally or structurally, they look the same. For example, in this pairing, both feature strong upward leaning lines that echo one another. The poetic part lies in what the comparison reveals about the two subjects: Furthermore, and most interestingly, both images make reference to violence through their compositionally similar features: The structure in the first image consists of individual objects of violence guns recomposed into a mega-structure itself bound for destruction to be burnt by the authorities.

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The structure in the second image, a cathedral, represents the Christian church, whose physical and organisational structures have also had unintended consequences, the systematic violence of which is often forgotten. Serendipitously, in these images, the two structures look similar. The beauty of the Recognition project is that it can reveal literal visual similarities across a multitude of subject matter. Like many, I adore the work of JW Turner, but I've always struggled to describe what it is about how he did light in his paintings that makes them so evocative.

It's a case of our spoken and written language not being rich enough to explain how we feel. Recognition here explains it better than words by simply offering something from our more immediate experiences that captures it.

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Humorously, the textual accompaniments of neither image does them justice nor explains what it is about them that makes them such a good match. However ordered the process of election, no one can predict the disorder that may flow from it. In more poignantly than ever: The pictorial evidence here may be of chaos being tipped from the ballot box. My photograph was taken on-board presidential candidate Hillary Clinton's campaign plane as she came to talk to reporters at the back.

The plane was crowded. To get a vantage point, I was standing on the armrests of the seats with the top of my head up against the ceiling of the plane. Aside from simply making sure I could see Hilary, I wanted to show a bit of the setting - what the plane looks like and what it is like for the candidate to be on board with so many people. It seems presumptuous to reach for cultural or political connections between my photograph and Gavin Hamilton's painting, given the disparity in subject matter and the span of time separating the events.

I'll confess I had to do some research into the specifics of "Agrippa Landing at Brindisium with the Ashes of Germanicus". Hamilton's from ancient Roman history and mine from the U. Both involve a political scene: Agrippa carrying the ashes of her assassinated husband General Germanicus back to Rome and Hillary Clinton campaigning for the Presidency.

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Both involve political families: President Bill Clinton, and a former U. Senator and Secretary of State. Most noteworthy is that a woman is at the centre of both images, which until Hillary Clinton, was unknown in U. Formally there are clear similarities to the images. And while Hamilton created his scene, and placed the historical actors in it, I was working with a chaotic scene over which I did not have a lot of control.

The perspective of both images and the layering of the people and things in the images have similarities.

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The unanswerable question I'm left with is this: What would the painter Gavin Hamilton think of this comparison? The streets are always rammed with people, and it can be hard to move, but the atmosphere is always great. The dancers with their lit up umbrellas performed on a small stage, away from the hustle and bustle of the crowds and the muddy recreation field ground. They stood out against the night sky. I mainly photograph news and sport. When I take a picture, like all photographers, I look for light and colour.

Translation of recognition for Spanish Speakers. Translation of recognition for Arabic Speakers.

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Encyclopedia article about recognition. What made you want to look up recognition? Please tell us where you read or heard it including the quote, if possible. Test Your Knowledge - and learn some interesting things along the way. Subscribe to America's largest dictionary and get thousands more definitions and advanced search—ad free! Do you feel lucky?

Our Word of the Year justice , plus 10 more. How we chose 'justice'. And is one way more correct than the others? How to use a word that literally drives some people nuts. The awkward case of 'his or her'. Identify the word pairs with a common ancestor. Can you spell these 10 commonly misspelled words? Examples of recognition in a Sentence The procedure is gaining recognition as the latest advance in organ transplant surgery.

The Olympic Committee gave official recognition to the sport.