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https://w.atwiki.jp/erebos/pages/30.html
var objShell = WScript.CreateObject("WScript.Shell"); WScript.Echo("起動時のカレントディレクトリ表示 \r\n"+objShell.CurrentDirectory); // カレントディレクトリ変更 objShell.CurrentDirectory = "C \work"; WScript.Echo("変更後のカレントディレクトリ表示 \r\n"+objShell.CurrentDirectory); WScript.Echo("スクリプトの絶対パスを表示 \r\n"+WScript.ScriptFullName); var fs = WScript.CreateObject("Scripting.FileSystemObject"); var fi = fs.GetFile(WScript.ScriptFullName); WScript.Echo("スクリプトのあるディレクトリのパスを表示 \r\n"+fi.ParentFolder.Path); // カレントディレクトリをスクリプトのあるディレクトリへ変更 objShell.CurrentDirectory = fi.ParentFolder.Path; WScript.Echo("変更後のカレントディレクトリ表示 \r\n"+objShell.CurrentDirectory); ■実行結果 Microsoft (R) Windows Script Host Version 5.6 Copyright (C) Microsoft Corporation 1996-2001. All rights reserved. 起動時のカレントディレクトリ表示 C \ 変更後のカレントディレクトリ表示 C \work スクリプトの絶対パスを表示 C \WSH\RunSSCS.js スクリプトのあるディレクトリのパスを表示 C \WSH 変更後のカレントディレクトリ表示 C \WSH
https://w.atwiki.jp/consulting/pages/66.html
最終更新日:2008年05月29日 (木) 00時18分22秒 国名 アメリカ 設立 1849年/1993年(日本) 従業員数 約155,000人(うち国内265人) URL http //www.deloitte.com/(http //www.tc.tohmatsu.co.jp/) 基礎知識 人事コンサルランキング世界第2位、ITコンサルランキング世界第3位であり 戦略コンサルランキングでも8位の実力を持つデロイト・トウシュ・トーマツのメンバーファームである。 日本では監査法人・税理士法人のリソースを活用して、財務戦略・業務改善・人事に強みがある。 監査法人トーマツ、税理士法人トーマツ、トーマツFASの公認会計士、税理士と共に プロジェクトチームを組んでのM&A案件が非常に増加している。 このM&Aプロジェクトの中でコンサルタントは特に、M&A戦略策定と ビジネスデューデリジェンス、統合後の人事組織制度構築に携わる。 Deloitteの正式名称はDeloitte Touche Tohmatsuであり それぞれ、イギリス、アメリカ、日本の人名であり グローバルファームとしては唯一日本人の名前を冠するファームである。 海外展開をする日本企業及び国内マーケットに進出する外国企業のクライアントが増えたのに合わせて、 2008年7月にトーマツコンサルティングからデロイトトーマツコンサルティングに社名を変更する。 (グローバル案件が全体の3割を超え、過去5年で40倍以上に膨らんでいる) 監査法人としては国内最大規模であり クライアント数は上場企業約1000社、非上場約300社 IPO(新規株式公開)関与数も数年1-2位で推移している。 日本には上場企業3900社弱あるがそのうち 3-4社に1社がクライアントという事になる。 コンサルティング案件もこのコネクションを利用する事が多々ある。 2002年時点では156名のコンサルタントしかいなかったが 2003年ヒューマンリソースストラテジー部門を拡大し 国内最大規模の80名を超える人材コンサルタントを擁する。 同年、東京、静岡、名古屋、大阪、広島、福岡の各地方オフィスを 統合させた持ち株会社を設立し、全体では300名を超える。 同じDeloitteの日本支社であったデロイトトーマツコンサルティングは アビームコンサルティングとしてデロイトトーマツグループから独立。 ITコンサルティングは弱くなったと言われる。 採用選考 筆記試験は他の戦コンと同じ内容だが 制限時間が長いので比較的簡単に攻略可能。 エントリー時、筆記試験時、面接時と小論文を何度も書かさせる。 二次面接のケース面接が圧迫面接で有名。 泣き出す人がいるとかいないとか。 パートナー面接で終わりのファームが多いが ここはその後、社長面接を行なうそうだ。
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QWERTY配列開発史 あるいは QWE.TY配列開発史 ショールズらタイプライターの系譜の初期開発史ではCurrent(1949。(1954はmy未見))文献が定説の根拠を支えているようにmy思う。インターネットで確認できる文献では Richard N. Current『The Original Typewriter Enterprise 1867-1873』(1949) (complete print versionはView document description選択の中にある。pdf直?リンクはここ(重いです)) この論文のP.400の上部 脚注22の段落あたり 「alternative method of pulling relatively straight」Current(1949) が、キー配列とタイプバーの配置の関係性の誕生を示唆している とmy考える。cf.関連図などhttp //blog.goo.ne.jp/raycy/e/927fdf97bc79fe690f69dc6f00129843 1871年、タイプバーの配置だけを変えることは許されなくなっていた(カレント1949脚注22の段落あたりより推察) そしてこれは、Rosch(初出は初版1989か?未確認)や安岡孝一(2005)、安岡孝一共著『キーボード配列QWERTYの謎』(2008)などの論拠の一部を危うくするものであるとmy考える。 仮説 『「活字棒の衝突」というインシデント』。これに加えて、カレント(1949)の脚注22、26、、 - 霊犀社2 通常、定説へのチャレンジャーが、既存定説の根拠を否定する作業手続きを行うもののような気もする、、。http //blog.goo.ne.jp/raycy/e/d2495a4e945fde2e19735ef7789b33fdだとしたなら定説側は、脚注22の段落あたりの論拠の否定が示されるまでは安泰である、、なはずなのだが、、。でもま、脚注22、確認するに越したことはない、、 カレント(1949)脚注22、脚注26 Current(1949)の脚注22 ReRe:脚注22,26の手紙のほうを先に見たい。でもまずは史料批判からなんでしょうね。 http //www6.atpages.jp/~raycy/Y/footnotes22and26.htm http //blog.goo.ne.jp/raycy/s/%B5%D3%C3%ED スラッシュドットへのmy関連コメントなど yasuoka - スラッシュドット・ジャパン ユーザ 安岡孝一氏へのmyコメントなどhttp //slashdot.jp/search.pl?q=raycy order=%40cdate+NUMD threshold=-1 op=comments raycy - スラッシュドット・ジャパン ユーザ その他 概念 カテゴライズ と 事象存在の歴史的実態アーム、タイプバー、活字棒、印字棒 が絡む 衝突 接触 干渉 アップストライク、アンダーストライク、フロントストライク まったく異なる counter -
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Currents (幻想水滸外伝Vol.1) 幻想水滸外伝Vol.1のオープニングテーマ 作曲者の東野美紀はグラディウスやイーアル・カンフーのBGMを手掛けた人物。 また、同packに収録されている。回想や幻想の世界へも氏の作曲である。(BEMANIではpop n15とCSpop n14の時に参加している) BASIC ADVANCED EXTREME LEVEL 3 5 8 Notes BPM Time Artist 幻想水滸伝音楽チーム Version plus 動画 +譜面動画 譜面動画 譜面動画 EXTREME (フラワー) +プレー動画 プレー動画 攻略・解説 各譜面の攻略に関する情報はこちらへ。 名前 コメント ※攻略の際は、文頭に[BSC] [ADV] [EXT] のいずれかを置くと、どの譜面に関する情報かが分かりやすいです。 ※体感難易度を書き記す際は、クリア難度・スコア難度のどちらかなのかを明記してください。 また、攻略と関係ない投稿・重複した内容は削除の対象になります 攻略とは無関係の話は該当する欄(情報交換&雑談) にてどうぞ。 コメント(感想など) これって歌ってる人志方に似てるが違うかな? -- 名無しさん (2012-02-13 21 09 42) 少し似ているけれどこれを歌っているのはIkukoという人だよ -- 名無しさん (2012-02-17 21 31 31) 名前 コメント ↑攻略と無関係の曲に対するコメントはこちらでお願いします。あまりにもかけ離れた内容は削除される場合があります。
https://w.atwiki.jp/mainichi-matome/pages/5144.html
The story below is originally published on Mainichi Daily News by Mainichi Shinbun (http //mdn.mainichi.jp). They admitted inventing its kinky features, or rather deliberately mistranslating them from the original gossip magazine. In fact, this is far from the general Japanese behavior or sense of worth. このページは、毎日新聞事件の検証のための配信記事対訳ページです。直接ジャンプして来られた方は、必ずFAQをお読みください。 ※ この和訳はあくまでもボランティアの方々による一例であり、翻訳の正確さについては各自判断してください。もし誤訳(の疑い)を発見した場合には、直接ページを編集して訂正するか翻訳者連絡掲示板に報告してください。 Campus Confidential Co-eds collect currency conducting extracurricular coitusキャンパス極秘情報: 女子学生は課外セックスをして通貨を集める 記事の影響 拡散状況 関連ページ Campus Confidential Co-eds collect currency conducting extracurricular coitus キャンパス極秘情報: 女子学生は課外セックスをして通貨を集める 0 Campus Confidential Co-eds collect currency conducting extracurricular coitus 2008,01,09 Jitsuwa Taiho February By Masuo Kamiyama キャンパス極秘情報: 女子学生は課外セックスをして通貨を集める 2008,01,09 実話大報二月号 カミヤママスオ記 1 "If you only count those who did one-time gigs, I d say about 50 percent of female college students have engaged in enko, " a 20-year-old university student whispers to a reporter for Jitsuwa Taiho (February). "Certainly among the gals I hang out with, it s 100 percent." 「もし一回限りのお楽しみをした人たちを数えるだけなら、女性大学生の約五十%が『援交』をしたことがあるでしょうね」と、二十歳の大学生は実話大報(2月号)の記者にささやく。 「たしかに、私と親しいギャルの間でなら、百パーセントになります」 2 "Enko," for the uninitiated, is shorthand for "enjo-kosai," literally "compensated dating," a well known euphemism for amateur prostitution. 知らない人のために説明すると、「援交」は「エンジョコウサイ」の略語で、文字通りには「報酬をもらえるデート」であり、素人売春を意味する良く知られた婉曲表現である。 3 When a buddy told the reporter that college girls had set up a club and were peddling it from a room on their campus,he was eager to bang out a story on campus beaver. You might even say his is a perfect case of Tai-ho, Tai-ho,and it s off to play we go.(*1) 友達が記者に、大学生女子がクラブを作ってキャンパスの一室からクラブを運営していると語ると、記者はキャンパスの女の記事を手早く書こうと一生懸命になった。 4 The reporter s source was a 35-year-old salaryman named Atsushi, who happens to be the "sefure" (sex friend) of Kaori, a bouncy 20-year-old college sophomore. この記者の情報源は、快活な二十歳の大学二年生・カオリの「セフレ(セックスフレンド)」である、アツシという名前の三十五歳のサラリーマンだった。 5 "I know she s been hooking on the side. But she doesn t charge me for it," Akira chuckles. 「彼女が副業として体を売っていることは知っています。しかし彼女は、私にアレの料金を請求しません」と、アキラはくすくす笑う。 6 Kaori confides to the reporter that her extracurricular circle at her school, a well-known private institution in Tokyo,numbers about two dozen members. 東京の有名私立大学である彼女の学校における、課外不倫サークルのメンバーの数は約二ダースにのぼる、とカオリは記者に打ち明ける。 7 After gaining an introduction, Jitsuwa Taiho s middle-aged reporter infiltrated Kaori s campus for a closer check of the location from where the circle operates. With professors, staff and visitors of a wide range of ages mixed in with the student population, he was relieved that he did not stand out from the crowd at all. 紹介してもらったあと、実話大報の中年記者はカオリのキャンパスに潜入し、サークルが運営されている場所から、より周到な観察をはじめた。 教授や職員、学生と混じった広い年齢層に及ぶ来訪者たちがいることもあって、人々の間で自分が少しも目立っていないことに、彼は安心した。 8 Here, he is shown files containing the girls photos and profiles -- including such intimate details as the location of their erogenous zones and facts re their favorite fetishes. The data is assembled into a album, which the customer, after paying an "introduction fee" of 5,000 yen, is invited to peruse. Once the customer has made his selection, the girl is contacted via her cell phone. そこで彼は、少女たちの写真とプロフィール――その中には、彼女たちの性感帯の位置や好みのフェテイッシュに関する事実といった、秘めやかなことが詳細に書かれている――が入っているファイルを見せられた。 データはアルバム一冊にまとめられていて、『紹介料』五千円を払った後に、客はアルバムを熟読するよう勧められる。 客が相手を選ぶとすぐに、携帯電話で少女に連絡がいく。 9 Upon meeting, the customer then pays the girl 20,000 yen. 会ってから、客は少女に2万円を払う。 10 "When I picked a really cute one, the gal in charge told me, She s in class until five p.m., so you can t take her out until after six, " the reporter relates. "It seems that even the girls who are engaging in enko are still serious about their studies. Somehow that seems a bit strange to me, but what the heck." 「とってもカワいい少女を選ぶと、取り仕切っているギャルが私に、「彼女は午後五時まで講義があるので、六時過ぎまでは、あなたは彼女を連れ出せません』といいました」と、記者は話す。 「『援交』をしている少女なのにもかかわらず学業に熱心なようです。なんだか少し奇妙なことだと思いますが、どうでもいいです」 11 So eager to complete his, uh, research ASAP, he selected a different member and the call was made. 彼の、ええと、調査を、可能な限り早く完了させようと熱心だったので、彼は別のメンバーを選び、電話がかけられた。 12 "She seems to be in Shinjuku right now, so let s set up a meet with her in front of the lottery ticket counter beside XXXX (she names a well known rendezvous point facing the plaza beside the station). How about five p.m.?" 「今現在彼女は新宿にいるみたいなので、彼女と出会う場所はXXXX(彼女は新宿駅そばの広場に面した有名な待ち合わせ場所の名前を言った)のそばの、宝くじ売り場の前にしましょう。午後五時でどう?」 13 He nodded his agreement and sure enough, at five, the co-ed -- let s call her Hiroko -- came bouncing up. 彼は同意して頷き、はたして五時に、その女子学生――彼女をヒロコと呼ぶことにしよう――が跳ねるようにやって来た。 14 "Hi! Shall we go?" she smiles, ready n rarin to romp. 「ハイ! 行きませんか?」と彼女は笑う。しきりにいちゃつこうとする気で満々だった。 15 She strode ahead of him toward the block of love hotels on the back streets of the nearby red-light district of Kabukicho. 近くの歓楽街・歌舞伎町の裏通りにあるラブホテル街に向かって、彼女は彼の先にたってさっそうと歩いた。 16 As for the sex. . . Well, putting it frankly it could be described pretty much as being of the straightforward,uninspired, no-frills, plain vanilla variety. そして、セックスについては……。そう、そのことをできるだけ率直に述べると、まさに単調で、退屈で、余分なサービスなしの、ありきたりなものだった。 17 "But her demeanor was cheerful, and I could see she was trying hard," he writes. 「とはいえ彼女の態度は快活で、彼女が一生懸命だったことはわかりました」と、彼は書く。 18 And more important, he obtained some useful information that made his story shine. そしてもっと重要なことに、彼の記事を優れたものにする、役に立つ情報を彼は手にいれた。 19 "In the six months since I joined the circle, I put away about 4 million yen," she is quoted as saying. "It all got around by word of mouth. If you solicit via the Internet you can get nabbed by the cops, so this way is more exclusive, but my customers tell their friends, and so on, so it works out fine. 「このサークルに参加してから六ヶ月のうちに、私は約四百万円貯めました」と、彼女の言ったことが引用される。 「このことについてはすべて口コミで広がります。インターネットを使って勧誘すれば警察に捕まえられてしまうので、口コミのほうがずっと排他的ですが、客が友達に話し、友達はまた友達に話すので、うまくいきます。 20 "I know gals who are raking in as much as 800,000 yen a month. And some of our customers are professors, too.Honest!" 「ひと月に八十万円も稼ぐギャルを複数人知っています。そして私たちの客のうち何人かは教授です。本当に!」 20 The fact is, Jitsuwa Taiho notes, it s a fairly common practice for brothels in Japan to promote their workers as college girls -- even when it s not necessarily true. But if you crave academic action, this is one way you can t go wrong,especially when the operation is run out of a room on campus by the college girls themselves! (By Masuo Kamiyama, contributing writer). 実話大報が書くには、実際には、日本の売春宿が働く人を大学生女子だと宣伝することは、非常に良く行われていることである――たとえそれが必ずしも本当でない時でも。 しかし学際的行動をしたいと強く思うなら、これは間違いなしのやり方である。なんといってもこの活動は大学生少女自身によってキャンパスの一室から行われているのだから! (寄稿執筆家・カミヤママスオ記) 記事の影響 英語版のWikipedia http //en.wikipedia.org/wiki/Enjo_kosai 拡散状況 AsianIdols.Net http //www.asianidols.net/comment.php?comment.news.353(*2) Новости из Японии(ロシア語:日本からのニュース) http //news.leit.ru/archives/994(*3) http //news.leit.ru/archives/994/2(*4) Japanese Style Noodles http //www.japanesestylenoodles.com/waiwai/archive20080109 WaiWai Archive http //www.mainichiwaiwai.com/waiwai/2008/01/ 英語サイト http //www.gaijinpot.com/bb/showpost.php?p=563533 http //www.xproductionz.com/forum/showthread.php?t=7489 関連ページ Japanese Style Noodles WaiWai Archive WaiWaiの記事を転載した英語サイト:G Новости из Японии(ロシア語:日本からのニュース) 優先的に翻訳すべき記事リスト 毎日新聞英語版から配信された記事2008年 英語版Wikipediaに記事が及ぼした影響
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Market Scenario In its research report, Market Research Future (MRFR), asserts that the AI in Construction Market Research 2020 is slated to grow exponentially over the review period, securing a considerable market valuation of USD 2.01 billion, and a healthy 35% CAGR over the review period. Novel coronavirus has actually AI in Construction Market Research to open new avenues for those firms that are on the lookout for solutions that are reliable, efficiently managed, scalable, and are subscription-based, to remain more focused on the core business. The AI in Construction Market is bearing lesser impact of the COVID-19 outbreak compared to most other segments of the tech world. In a nutshell, COVID-19 impact on managed services has been fruitful, with the market growth enhanced than before. Given the prevalent lockdown situation, managed services vendors are now investing heavily in remote-centric worker solutions, which can make the market highly resilient in the coming years, even as the world is currently rushing to achieve a COVID-19 breakthrough. Request a Free Sample @ https //www.marketresearchfuture.com/sample_request/6035 Segmentation The AI in construction market is differentiated by component, technology, organization size, deployment, stage, and application. On the basis of stage, the market is segmented into construction stage, pre-construction, and post-construction. Based on the component, the AI in construction market is bifurcated as solutions and services. The solution segment is categorized as demand forecasting, virtual assistant, revenue estimation, design planning, predictive maintenance, and others. The service sub-segment comprised implementation services, training consulting, and other support services. In terms of technology, the market is segregated into machine learning deep learning, neural networks, and natural learning programming (NLP). Based on the deployment, the market is divided into on-cloud and on-premises. Based on the organization size, the market is bifurcated into large enterprises, and small medium enterprise (SMEs). On the basis of application, the market is categorized as, project management, schedule management, risk management, equipment management, building information management, and supply chain management. Competitive Outlook The major market players operating in the global market as identified by MRFR are Oracle Corporation (U.S), IBM Corporation (U.S.), SAP SE (Germany), Alice Technologies.(U.S.), Microsoft Corporation (U.S.), Autodesk (U.S.), Aurora Computer Services(U.K), eSUB (U.S.), Smartvid.io(U.S.),and Building System Planning (U.S.). Some other market players who are involved in AI construction market are Jaroop, Deepomatic, Lili.Ai, Predii, Assignar, Coins Global, Beyond Limits, Doxel Askporter, Bentley Systems, Plangrid, and Renoworks Software Regional Analysis The geographical overview of the global market has been analyzed in four major regions, comprising the Asia Pacific, North America, Europe, and the rest of the world. On the building industry, North America is believed to have substantial growth in the AI, with the U.S. and Canada being the sector leading countries. Regional domination is due to increased investment by companies such as IBM Corporation, Oracle Corporation and many others, which invest directly in the advancement of technologies such as neural networks and machine learning in research and development. However, Asia Pacific is also expected to experience a strong market growth rate. The leading countries in this field are China, Japan, South Korea and India. The market growth is due to rise in demand by the region to improve smart city projects which require better facilities that boost the real estate sector. Table of Contents 1Executive Summary 2Scope of the Report 2.1Market Definition 2.2Scope of the Study 2.2.1Research objectives 2.2.2Assumptions Limitations 2.3Markets Structure Continued…. Browse Full Report Details @ https //www.marketresearchfuture.com/reports/ai-in-construction-market-6035 List of Tables Table1 Global AI In Construction Market By Region, 2020-2027 Table2 North America AI In Construction Market By Country, 2020-2027 Table3 Europe AI In Construction Market By Country, 2020-2027 Continued… List of Figures FIGURE 1 Global AI In Construction Software Market Segmentation FIGURE 2 Forecast Methodology FIGURE 3 Porter’s Five Forces Analysis of Global AI In Construction Software Market Continued… Trending #MRFR Report** https //ictmrfr.blogspot.com/2022/04/geofencing-market-companies-growth-with.html https //blogfreely.net/pranali004/telecom-expense-management-market-size-impressive-cagr-changing-business-scope https //postheaven.net/pranali004/financial-app-industry-impressive-cagr-changing-business-needs-scope-of https //market-research-future.tribe.so/post/openstack-service-market-research-impressive-cagr-changing-scope-of-current--6263de46791566c10c79891e https //www.scutify.com/articles/2022-04-24-infrastructure-as-a-service-industry-cagr-changing-business-scope-of-current-and-future-industry- About Market Research Future Market Research Future (MRFR) has created a niche in the world of market research. It is counted among the top market research companies that offer well-researched and updated market research reports and insights to businesses of all sizes. What sets us apart is our super-responsive team that offers quality work keeping clients abridged of the prospective challenges and opportunities in various markets. Our team is adept in their space as well as patiently listens to every client. The best part is they know their work inside out and possess the expertise to guide the client in the right direction and achieve results on a tight deadline. We are a one-stop solution for all your data research needs. Our team does not believe in the “one size fits all” approach to creating a report that is detailed and concise. We handle 13 industry verticals including Healthcare, Chemicals and Materials, Information and Communications Technology, Semiconductor and Electronics, Energy and Power, Food, Beverages Nutrition, Automobile, Consumer and Retail, Aerospace and Defense, Industrial Automation and Equipment, Packaging Transport, Construction, and Agriculture. With our unique approach for every market report, we aim to reach the zenith in qualitative business intelligence and syndicated market research. Contact Market Research Future (Part of Wantstats Research and Media Private Limited) 99 Hudson Street, 5Th Floor New York, NY 10013 United States of America 1 628 258 0071 (US) 44 2035 002 764 (UK) Email sales@marketresearchfuture.com Website https //www.marketresearchfuture.com
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Prática http //www.marketing-e-cultura.com.br/website/pratica/prat001-b.php?cod_artigo=17 Marketing e Cultura comunhão de bens (2004, segundo semestre) Manoel Marcondes Machado Neto Marketing cultural é a atividade deliberada de viabilização físico-financeira de produtos e serviços que, comercializados ou franqueados, venham atender às demandas de fruição e enriquecimento cultural da sociedade. Primeiro foi a lei 7.505, de 2 de julho de 1986, (Lei Sarney, de incentivos fiscais à cultura), que iniciou uma nova era de mecenato no Brasil – muito embora o termo mecenato não seja o mais adequado para denominar as práticas amparadas por aquele instrumento inaugural de uma era, sim, mas de marketing cultural. Aquela lei e suas sucessivas regulamentações abriram caminho para uma visão complementar à ação do Estado no que concerne à produção cultural. Desvinculada da educação, a cultura ganhava status de ministério e num efeito cascata, estados e municípios passaram a separar as responsabilidades também em secretarias distintas. Como se fosse possível separar a cultura da educação... Sendo a cultura uma atividade econômica que movimenta cerca de 1% do PIB no Brasil, seria razoável reivindicar que o Estado alocasse 1% de seu orçamento para o setor (o que significaria, em 2004, algo em torno de 15 bilhões de reais), ao invés do atual 1 bilhão de reais investido, somados união, estados e municípios, seja com dotações orçamentárias, seja por meio de incentivos fiscais. Como isso não acontece, vêm as políticas "compensatórias" de incentivos. No entanto, qualquer política desse tipo, deve ter um caráter complementar em termos de obtenção de recursos e, por princípio, vigorar por tempo determinado. Naquele primeiro momento, as empresas puderam financiar ações culturais através da renúncia fiscal, desde que tais ações fossem levadas a cabo por produtores artístico-culturais – tanto públicos quanto privados. Essas organizações, pré-existentes ou não à lei, deveriam comprovar, junto ao Ministério da Cultura, seu objetivo de produzir e difundir a cultura e então obter um registro no Cadastro Nacional de Pessoas Jurídicas de Natureza Cultural (CNPC) – sob o controle do MinC e da Secretaria da Receita Federal do Ministério da Fazenda. O centro das ações de captação de recursos e de produção artístico-cultural era, pois, uma entidade, a qual, depois de recebido certo aporte de recursos, a título de doação ou patrocínio, deveria prestar contas ao fisco e ao MinC sobre a sua correta aplicação. Desvios eram punidos com a perda do registro. Uma segunda checagem podia ser feita a partir dos registros contábeis da empresa-patrocinadora. E o ciclo se fechava na relação empresarial entre entidade-produtora e cliente-patrocinador. Organizações que não gerassem bons resultados ou que mal-versassem recursos eram proscritas no meio. Essa abordagem, na qual o produtor era o elemento central da ação de marketing cultural é o que denominamos de primeira geração. Com a saída de cena da Lei Sarney, em 1990, eliminada que foi, junto a todas as demais leis de incentivos fiscais pelo governo Collor, surgiria, em 23 de dezembro de 1991, a lei 8.313 (Lei Rouanet) e, mais tarde, a lei 8.685 (Lei do audiovisual), de 20 de julho de 1993. Essas leis colocaram os projetos culturais no centro da ação de marketing cultural. Os projetos é que passaram a ser analisados e aprovados ou não pelo MinC (e secretarias de cultura estaduais e municipais pelo país afora, com base em sucessivas leis nessas esferas), como passíveis de captação de recursos hábeis à renúncia fiscal. Nessa altura não somente o imposto de renda (federal) passou a ser parcialmente “desviado” para a cultura diretamente pelos contribuintes, como também o foram parcelas do principal tributo estadual (o ICMS) e dos principais tributos municipais (ISS e IPTU). Não importava quem propunha a ação. Bastava que fosse um contribuinte cadastrado. E a questão crucial passou a ser, a partir daí, o montante que governos federal, estaduais e municipais permitiriam que fosse desviado (renunciado ou incentivado, como queiram) a título de apoio à cultura. Em toda essa década de Plano Real o marketing cultural funcionou assim. Essa fase em que o projeto constituiu o elemento central da ação de marketing cultural é o que chamamos de segunda geração. Estamos assistindo, diante das discussões postas pelo próprio MinC, os estertores desse ciclo. O que virá depois? Uma vez que a sociedade civil passa a constituir-se como o centro das atenções globais, que os governos vêem-se cada vez mais premidos pela responsabilidade fiscal e pelo contingenciamento de verbas e que a empresa privada vê-se cada vez mais pública, num novo sentido do termo, refém dos standards da governança corporativa, torna-se praticamente impossível a manutenção das velhas práticas de marketing cultural. Marketing Cultural de Terceira Geração (ou a transição para o fim dos incentivos fiscais à cultura) Uma nova forma de viabilização da produção artístico-cultural deve ser fundada no Brasil. Algo fora – o mais possível – dos apadrinhamentos, do amadorismo e dos orçamentos tipo “me engana que eu gosto”. Sem abrir mão da devida programação orçamentária para custeio e manutenção, as instituições culturais públicas precisam, de uma vez por todas, adotar uma filosofia de marketing. Afinal estamos todos imersos nesse mercado global em que se transformou o planeta. Não é mais possível que um museu federal, um teatro estadual ou um centro cultural municipal não procedam a uma auto-análise mercadológica para verificar com o quê estão concorrendo. Com quem estarão disputando o milagre da escolha soberana do cidadão-platéia. Conquistá-lo tem que ser seu objetivo final. Precisam, pois, exercitar competentemente seu marketing cultural de fim. As instituições privadas, por sua vez, precisam descobrir o caminho inexorável da auto-sustentabilidade. Muitas, aliás, já o encontraram. Artistas e produtores culturais necessitam urgentemente ver-se como entes pertencentes a um mercado. Sim, um mercado de arte, de cultura, de entretenimento e de trabalho. E um mercado altamente competitivo, no qual o amadorismo é punido com o pior dos esquecimentos – a morte. Uma visão de negócios, no puro sentido do termo (de não-ócio) e de empreendedorismo precisa ser posta em prática por profissionais que se estabeleçam no entorno do artista. Para praticar competentemente um marketing cultural de agente. Patrocinadores, dentre as organizações públicas e privadas, cada vez mais necessitadas de comunicar a seus públicos a que vieram – para além do lucro – e last but not the least – as pessoas físicas deste país, têm que responder ao chamamento de uma cidadania coletiva, que alcance mais que a simples satisfação das necessidades e desejos individuais. Para as primeiras, que têm no patrocínio mais um veículo para sua comunicação de marca institucional ou de produto/serviço, urge praticar competentemente um marketing cultural de meio, independente de incentivos fiscais, e, finalmente, para os cidadãos, que tal analisar já, com boa antecedência, as centenas de opções disponíveis (por enquanto) para a destinação de até 6% de seu imposto de renda a pagar, exercício 2004 ? Manoel Marcondes Machado Neto Autor do livro “Marketing Cultural das práticas à teoria”, editado pela Ciência Moderna. Atuou em produção cultural entre 1983 e 1993. Dedicou-se ao doutorado em Ciências da Comunicação na ECA/USP de 1996 a 2000, com o apoio da UERJ (PROCAD) e da CAPES (PICDT). É professor da Faculdade de Comunicação Social da UERJ. Voltar ao topo