Argumentative Essay on Banning Cigarettes Do You Support It

One of the most debated topics on the globe is smoking and the movements for banning it. You’re a lucky student once you’re assigned with the task to complete an argumentative essay on banning cigarettes! The thing is that this topic can be approached in many different ways and it’s up to you to decide which one you’d like to choose. Let’s imagine like you’re one of those cigarettes anti-fans eager to ban this harmful habit once and for all. What kind of arguments one can suggest to prove that smoking should be banned in bars, restaurants and all other public places? No more second-hand smoking! It is a well-known fact that second-hand smoking is one of the cancer causes. Second-hand smokers receive the same amount of harmful nicotine and other chemicals as the real smokers. Once smoking is banned, the amount of people who suffer from second-hand smoking will be reduced. Make sure to support your viewpoint with the statement that second-hand smoking reduction will also minimize the risk of cancer. Cigarettes banning will help smokers to quit Each smoking ban leads to a decrease in the number of cigarettes. With every banning law more and more smokers make a decision to quit altogether. In accordance with the information provided by the Mayo Clinic Nicotine Dependence Center representatives, the number the brain receptors that are longing for nicotine increase from the inhalation of tobacco. Once the number of receptors begins to decrease the need to have â€Å"just one more cigarette† decreases too, which, in turn, results in no smoking. All the bans also give smokers one more reason to quit smoking for it is really inconvenient to spend hours searching for a place where smoking is allowed. No more heart attacks! In accordance with the Journal of the American Heart Association, the cities where smoking in public places is banned have less heart attacks in comparison with the areas where smoking is allowed everywhere. Make sure to give enough space for statistics within your essay. It is recommended to mention that almost 225  000 cases of heart attacks (per year) can be prevented by means of smoking bans. Provide real-life examples of the fact that smoking bans tend to lower the risk of heart attacks not only among smokers, but also among the people who do not have this habit. Samples Download this sample Paper title: Argumentative Essay: â€Å"Learning To Save Energy† Academic level: College (3-4) Discipline: Sociology Paper Format: APA Sources: 0 Pages: 4 Download this sample Paper title: Argumentative Essay: â€Å"The Problem of Consuming Resources† Academic level: College (3-4) Discipline: Environment Paper Format: MLA Sources: 0 Pages: 2 Download this sample Paper title: Argumentative Essay: â€Å"Graduating University and Further Recruitment† Academic level: College (3-4) Discipline: Education Paper Format: APA Sources: 2 Pages: 4

Essay On The Guildsmen In The Canterbury Tales - 783 Words

The Guildsmen of The Canterbury Tales Step 1 Prewriting: The Guildsmen were a group of men a part of a labor union. The carpenter, the weaver, the haberdasher, the dyer, and the carpet maker all traveled together due to their similar trades. They did this so they could increase the prices of their good. These men were all very successful in their respective trades. The men dressed in very fancy attire. The Guildsmen were also very proud of how well they treated their wives. Step 2 Prewriting: There was only one word from the textbook that I did not understand. The word is â€Å"dais,† which means â€Å"seats of honor, or a throne.† The Canterbury Tales is a group of stories about a variety of people who went on a pilgrimage to Canterbury to see†¦show more content†¦They not only dressed out themselves and their wives, but also their horses. Do not be mistaken, not all craftsmen behaved in this manner. Some craftsmen were monks! A monk named Bertinus â€Å"lived in a monastery, devoting himself to work, prayer and study† (Price 14). The Guildsmen that Chaucer wrote about were very boastful and showy with their wealth, but not all craftsmen were like that. There is not much to infer from the Guildsmen, due to Chaucer not getting to their stories before his passing. But based upon how they boast their wealth, we can assume that they were stuck up in some manners. As previously stated, they showed off their wealth with silver knives and fancy pouches and girdles to the other merchants and craftsmen. They completely spoiled their wives as well. The Guildsmen were â€Å"all in livery† (Chaucer 153). They dressed in clothing associated with their trade. Back then, craftsmen all wore a certain type of uniform based on their craft. Kind of similar to the way jobs wear certain uniforms. For example, at the UPS Store the standard uniform is a collared shirt, either brown in light green, with khaki pants. Based on the information of the Guildsmen, we can infer that these men either rode on horse or buggy. We can also infer that the horses or buggy were welled dressed up to show off their wealth! Chaucer has a somewhat clear opinion on the Guildsmen. In a way, he seems like he kind of looked

History of Hong Kong Art Village Free Essays

(Eng. Summary) andrew lam (The section â€Å"History of Oil Street Architecture† was published in Hong Kong Economic Journal 2000-03-27) The First Stage – â€Å"The Oil Street† Period During the 17 months from August 1998 to the end of 1999, the Government Property Agency rented an abandoned governmental building at Oil Street, North Point to architects, designers, photographers, individual artists and art groups at a rental rate as low as HK$ 2. 5 / square ft. We will write a custom essay sample on History of Hong Kong Art Village or any similar topic only for you Order Now It gradually served as the nurturing ground for art education, creative industries and various kinds of exhibitions and performances. 3 large-scale art and culture festivals have taken place in the Art Village. More than 100 exhibitions and performances, which attracted more than 30,000 audiences, have been held throughout the year. The nature of activities were diverse to include theatre work, dance, folk art, ink painting, calligraphy, installation, photography, sculpture, painting, multi-media, video art, digital art, architecture, fashion design, performance art and music concert. The Oil Street Art Village was a cultivated space, which fostered local economies, creative industries and international art and cultural exchange activities. It attracted creative and enthusiastic individuals to involve and to arouse the interest of local and overseas press. The total area of the Oil Street building was 125,000 square ft. The gross floor area was estimated to be 160,000 square ft. 33 art groups and workshops, and more than 100 artists were stationed in the Art Village; while more than 721 artists and 3,000 art group members involved in various activities (it is approximately 30% of HK art field). More than 60,000 square ft. area served as performing space, rehearsal room, working area, and storage. The abandoned property was positively activated. In that short period of time, the art and culture industry built up a good partnership with the SAR government: the Art Village was recognized and supported by HKADC. In 98-99, the Planning Department pointed out that Oil Street Art Village was a successful model for land use transferral. All of the above prove that HK citizens urgently need the full support of the government to assist running a non-governmental and independent art village. It serves as a window and an opportunity for local art and cultural workers to showcase the power of creative culture. This is the gateway to develop Hong Kong into the brand new â€Å"art and cultural centre† in Asia, and to raise the image of HK in the global level. In 2000, the SAR government planned to sell the land through auction. Various units in the Art Village moved out and the land has been abandoned until today. Not only was the Oil Street Art Village destroyed, but the SAR government also lost nearly HK$ 10,000,000 of rental income since 2000. The Second Stage – â€Å"Cheung Sha Wan Warehouse† Old Kai Tak Aiport Period The ex-slaughterhouse in Cheung Sha Wan and the ex-Kai Tak Airport Office Tower was temporarily let to Oil Street Art Village by the Government Property Agency. However, the space provided was not suitable for artistic activities. Many workshops and art groups such as 1aspace, Videotage, On and On Theatre, Zuni Icosahedron/Z+ etc. retreated or their activities suspended. Such a â€Å"hybernated† situation lasted for at least 1 and a half years. During the period, some art studio was transferred to Old Kai Tat Airport venue and the studio of Tsui Pui Wan had organized an installation, which attracted wide public participation. The Third Stage – To Kwa Wan â€Å"Cattle Depot Artist Village† (CDAV) Period In July 2001, the Government Property Agency rented a renovated government property, the ex-quarantine station for animals (63 Ma Tau Kok Road, To Kwa Wan) to individual art groups and artists. Most of the architecture in the station is heritage. Some are over 100 years old. Units and Cultural activities in CDAV The total area of CDAV is 7,394. 93 square metres. It has 19 stationed art groups: Zuni Icosehedron, Ngau Pang Shue Sue Yuen, Artist Commune 63 Museum, Videotage, 1aspace, Frog King Museum, (szOf)-Tsui Pui Wan, Wee Design, Photo China. CC, Cut_N_try Workshop, Billy Suzies, Tim Tsz Workshop, Possive Null Workshop, Kum Chi Keung Workshop, Steve Cheung-Work Zone, 2/3 Studio, N4 and so forth. Main publications in these two years include: â€Å"E+E† by Ngau Pang Sue Yuen,†¦. and many exhibition catalogues. Significant exhibitions held included â€Å"Tree. Man†: Danny Yung Solo Exhibition Tree Man in 2003, CADV held large-scale art festival, such as Cattle Depot Summer Days Nights Arts Festival 2003. The studio zero O fish organized Summer Workshop 02, etc. The Book Festival was co-organized by Zuni Ngau Pang Sue Yuen and 1aspace with participation of 22 cultural organizations. It attracted more than 20,000 local citizens and book lovers. The Artist Commune has also organized many societal and cultural exchange programs. In the future, the CDAV will develop as a non-profit making charity (NGO). We are also planning to make the best use of spaces in the village as a platform for experimenting civil art education and creative cultural industries, and as a channel to consolidate different social sectors and governmental departments. The CDAV will be the new fountainhead of Hong Kong culture, and it will foreshadow and set an example to evaluate the idea of the operation of the proposed West Kowloon Cultural District. City globalization and synchronization bring about the building of skyscrapers, highways, airports, etc†¦ Organizing international biennial, triennial, exposition and other great cultural events become inevitable in internationalization. The CDAV has long been a localized phenomenon, we pose the questions of globalization versus regionalism. In reality, there are 4 alternative spaces and 15 independent studios in the CDAV. For the past 2 years, they actively organized a great many of individual programs. They also organized joint events like community workshops and territory-wide art festivals. This proposal will present open studio project to create A CONCEPTUAL ‘COMPUTER HUB’ WHICH RE-UNIFIES THE WHOLE CDAV AGAIN. [1] The Experiment The Hong Kong CDAV is not a conventional museum for cultural display. It is an alternative space: a 7,394 sq meters art village with visual art and theatre group, big companies and individual studios living in symbiosis. In reality there are dreams and conflicts, expectations and competitions. Urgency and stability are side by side. In meeting this global event, the proposed CDAV project will not be a fabrication of un-real situation. In preparing for the exhibition, no pre-fabricated unit or exhibition system will be re-assembled in another site for exhibition. The studios of the CDAV is like ‘A MICROSCOPE’. It helps the international audience TO UNCOVER A WORLD OF ADVENTURE, EXPERIMENTATION, DISCOVERY AND WONDERS in the CDAV. There is NO GLASS OR INSTRUMENT USED TO MAGNIFY OR DISTORT FACT AND REALITY. Every object has to be viewed in actual size! Like the Berlin Biennale 2004, The CDAV studios portray reality and the CDAV artists provide such a visual excursion with a LIFE MANUAL. They themselves are the best exhibition documents and interpreters. BEYOND THE FRAME WE PROVIDE A NEW SPACE WHICH EXTENDS THE CONVENTIONAL PHYSICAL CONCEPTUAL BOUNDARY OF AN EXHIBITION WITHIN THE ALREADY-EXISTING AND DEFINED AREA OF STUDIOS IN THE CDAV. The artists working in the CDAV studios take the opportunity to develop creative dialogue and exchange with the international curators and artists. The CDTV project will be in an interesting dialogue by using site-specific studio works showing artistic development from initial stage to final production, from conceptual building to theory formulation, from pre-exhibition studio discourse to post-exhibition debate. (  ¦ ) 2000-03-27 2004-06 (1999? ) (2003-2006) (1999) 1999? 11? 9? , , , 006 2 007 3 007 4 015 5 016 6 021 : 023 025 046 : †¦ , , , , (3? ) (1? ) (6? ); (2? ) (1? ) 1? , , , , , ; , , ; , , , , , , 2 , , , , : , , , , , , , , , ; , , , , , 1990? , ( ), , , , , , , , , , [2] , , , , , , , 2. 75 15 , 12? 5 , 31? , 6 Kwok and Cho Z+? Workzone Raymond Lau? Wong Chi Fei? Lily Workshop? Qwert Parallax Workshop? Xtreme Creative? Michael Chan Architects? James Wong Andrew Lam? Vivian Lam? Ashley Hempsall? Tom Tong? May + Ling? Rensis Ho? Bone Wong Tim? Billy and Suzie? Edge? 1a Ringo Tang? 31 721? , 3? , 100 , 30,000 , , , [3] , , , , , , , : 1. , ( : )? 2. 2a , , , ,? 2b , : , , , , , ( ) , , ( , 2,000? , ) : , , 180 , (? ) (? ) (? ) (? ) (? ) (? (? ) , , , , , , ; , , , , , ; , , , , , , , , , , , 1A , Z+ , , , , , , , , , (C? D? ), , , , , , (Machine Aesthetic) , , , , , ,? 1998? 8 16 2. 75? 1 , 16 , 12? 5 , 30? , 6 , , , , 2000 , , : , 12? 15 , , , , 1998 , , , , , 98 , , , 1893 12 , [4] , , Victoria Regata Club , , , , [5], (E. M. Hazeland) [6], 1908? 3? 21 (Sir Frederick Lugard) ; , , , (Club House), , , , , , ; , , , , , , , , ; , 19 (Arts Crafts Movement) [7]; , (1905? ) (1913? ) (1915? ) , , , , [8]1965? , – 1992? 10? , 1999? 11 , , , 1939 1964 1939 , 1950 941 , , , : i) 1969 (DYN1XB1B), , 1969? ; ii) 1945-64? 1:2,400 (HKR. S. 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( ) ? 17. ( ) 18. ( ) 19. ( ) ? 20. ( ) , , , , : 1. 2. , 3. , , 4. , ;? ii , , , , , : 1. , 2. , 2a , , , : ,? 2b , 1) : , , , , , , ?P. S. 1. , ; [10] , , , / , , , , , 1. : 1a , ;? 1b , , , , , , , ,! :1) , , ; , , ;2) , , , , , , , , , ;3) , ;4) , , ;5) , , , 2. : , (? ) / : , / , , , : 7A ( ) Dr. Morhard, Juergen, Consul of German Consulate (Hong Kong)? Dr. Sacker, director of Goethe-Institute(Hong Kong)? Oscar Ho, exhibition director of HK Arts Centre? Renee Chan, art and design programme designer, HKU-Space? Ben Sumner, senior lecturer of APA? Chartered Society of Designers? Caroloine Cheng, director of The Pottery Workshop? Lam Yuen Mei? Gary Mak Sing Hei, associate director of Broadway Cinematheque? Cheng Wai Lau, manager of Theatre Ensemble? Irene Ngan, Program Manager of Goethe-Institut? Ip Yuk Yiu, Lecturer of City University? Linda Lai, assistant professor of SCM, City University? Nancy Tong, assistant professor of City University? Cheung Kai Sun, art director of Zebra Consultant? Simon Queeans, publisher of BC Magazine? Leung Chi Fan, vice-president of Hong Kong Society For Education In Art? Hung Chin Lu, director of Studio 22 Ltd.? Leong Ka Tai, director of Camera 22 Ltd.? Golden Cheetah Company? Wong Leung Sek Rupert, chairman of Hue Art Association? Shum Ka Chun, art dirctor of ICON? Wong Chack Kie, Associate Professor of the Chinese University of Hong Kong? Li Chak Man, project manager of Yew Chung Education Foundation? Siu King Chung, assistant professor of HK Polytechnic University? Tang Shu Wing, artistic director of No Man Land Limited? Tsang Wai Yi Catherine Lau Lui Wai Kei Lam Wai Kit? Lau Chung Hang? Kelvin Tsang? Louisanna Chan? Steve Choi? William Thomas Dixon? Pegsi K C Wong? Betty Hung? Yik Fei? Natashia Ting Clorie Ng? Fanny Lam? Lau Mei Yee? May Fung? Yanpi Kwan Pui Yan? Wong Shun Kit? Hilary Binks John Thompson Chan Chui Hing, Nose? Mo-yung Yuk Lin Helen Leung Jenny Lam Chi Ling? Lichtenstein, Frederic? Vivian Chan Sau Han? Lee Kit Wai John Yip? Chan Tze Ming Liu Yuen Hung Jacqueline? Sandra L. Walters? Winton non Marsalis? Clarence Tsui Borezee? Blaise Lam Kam Ying? Wong Fung Ming? Tam Shiu Wah Hillman? Norris Ng? Lesley Chan Yan Yan,? Woo Vivian Cheng? Wai Kwan? Alice Chu? Cherie, Cheng Shui Che? Chan Wai Fun Dovas? Lau Wing Yin, Nataue? Kum Chi Keung? Tina Chan? Charles Lam? Maria Leung? Wei Peh Ti? Wong Hao An Alanie? Wong Gi Wai, Gigi? Winnie Lau? Paul Kember? Julita Lui Y. E.? Juliana Wong? Peter K. Ho? Jan Chu? Pamela Hoy So Ching? Quentin Fong Bryan Lay? Liu Ying Kei Carol? Robert Orien? Freddie Chan? Rachel Lee? Fornia Chan Siu Yim? Beryl Yau? Mimi Tung? Frank Yeung? Kearen Pang Yuri? Ng Lilian Chan : The Australian Network For Art and Technology? Artspace Visual Arts Centre, Sydney? Chinese Art News Magazine? Marina Grzinic, Fund For Video Art? Griffith Artworks, Griffith University, Australia? Videobrasil Festival, Brazil? Mike Stubbs, director of Hull Time Based Art, UK? Mike Leggett, Australia? Chang Young-Hae, Seoul? Wolf Kahlen, Germany? Evangelo Costadimas? Uwe Buchler, Werleitz? Gesellschaft, Germany? Steve Hawley, UK? Trevor Batten, Amsterdam? Veronica Needa? core member of Yellow Earth Theatre(London),†¦ : ( ) 1. 1. 1. , , , , , , , , , , , 2. 118? , 27 , ,? 27? , 10 ; (9? ) (8? ) (? 7? ), (6? ) (? 5? ) (4? ) 3 , 2 27 , 10? , 4? , , , , , (3? ) (1? ) (6? ); (2? ) (1? ) 1? , , , 2002 1 , [11] 3. , : ,†¦ , , [12] , , :?†¦Ã¢â‚¬ ¦ ( ) , – [13] 4. , , , , , , , ,†¦ 5. , : ; , ; , , , , , [14] 2. 1. 2. 1. 1 : (Alliance of Artists’ Communities AAC) (Artists Communities: A Directory of Residencies in the United States Offering Time and Space for Creativity) , 70 2. : , , , , 50% , , , , 4%? , : . (American Academy in Rome)[15] . (The Corporation of Yaddo)[16] . (The MacDowell Colony, Inc. )[17] 70 80 , 80 ; , , ( ) , , , , , , , , , , , , , , 3. : , (Artist’s House) , , , (Kunsterhaus)[18]? 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Data Warehouse in a Simple Language by Dirk Herreman

Question: Give a review on Data warehouse in a simple language by Dirk Herreman. Answer: Data warehouse is a vital source for converting the data into the information form which further can be used for making intelligent decisions (Herreman, 2016). He provides a strong base for the various techniques of data analysis. It is a useful source for accessing the information in a quick and easy manner. The success of any business depends on achieving the goal, and this process is incomplete without taking corrective decisions. The author has explained some key points related to the data warehouse. The first key point is related to the ease for creating the database. The size of the data warehouse varies from business to business and from industry to industry, and it depends on the size and the requirement of the organization. He has given guidance on choosing the right approach for establishing the data warehouse. Some organizations go for a huge database that is created in the centralized form. Some organizations create a small database, and some firms go for a combination of both types of databases a small as well as large database. It further depends on the data structure required by the firm. The second key term is that the data warehouse is different from the operational databases. In a data warehouse, firstly the data structure is created, and then an application is created from it. He explained that it varies from the operational database as in an operational database, firstly the application is established, and then data is entered into the created application. The third main point is related to the creation of data structure in the data warehouse. He mentioned that this task is impossible to perform without using the data model. (Herreman, 2016). It is important to choose the accurate data model and correct data modeling technique for creating successful data warehouse so that it helps in taking corrective decision. There are various data modeling methods like dimensional data modeling, E-R modeling, etc. He said that the dimensional modeling wa s not suitable for handling bulky data models. Conclusion and Recommendations: The author concludes that data warehouse provides the reliable information, and it provides the correct solutions for various issues. He concludes that it should be created by using the right method and right model (Herreman, 2016). He recommended various data analysis techniques, data models (like dimensional data modeling, E-R modeling), architecture, and he also guiding in choosing the right technique and right model depending on the size and requirement of the organization. The only drawback is that the reader required a complete knowledge of the Entity-Relationship model. Critique and Critical analysis: This book is a very useful source for the beginners. This book provides the information on models, data structures, implementation, administration, development, and maintenance of the data warehouse. The author gives a clear picture to the readers related to the uses of the data warehouse. Before going for reading this book, the reader must have knowledge related to the Entity-Relationship modeling. The author has also explained the concept of data marts, and the way it varies from the data warehouse. He guides various recommendations on choosing the accurate data model, and right data structure for creating the data warehouse. The author says that its supports different data structures. The data can be accessed in the form of files, logs, and tables. The author elaborates that it does not behave well in case of data analysis for historical data. He explained the concept that the vast amount of data scanning was needed in case of accessing the historic al data. It can cause impacts in a negative way on the operational application. The author has given suggestion also for handling this situation. He mentions that there should be a separate environment for handling the historical data as well as there should be a separate environment for handling the current data of the firm. It helps in reducing the conflicts between the information, and it also helps in increasing the performance of the overall system. In short, it is helpful in improving the operational environment of the company. The author says that the idea of warehouse starts form the concept of the relational database management system (Berghel, 2015). The author has also referred the reasons for creating this concept. He elaborates that it is created for handling the end user computing process. The quires are executed into the database by using SQL (Structured Query Language). He mentions that the concept of a data warehouse is generated to solve the following a query or is sue: the requirement for the computing system of the end user is different form the requirements of the system used for the transactional processing. The author has explained the various techniques of data analysis in a easy way. The different tools are the query, and reporting tool, data mining tool, and the other is multi-dimensional analysis tool (Li, 2013). He provides the result corresponding to the queries made by the users. The result is given in the form of patterns, or the book can be given in the form of clustering attributes, and it further used for data analysis and then, the decision is made by the data analysis. This book provides low level or beginner level material. I would suggest this book to the beginners, but it is not a fruitful source for advanced studies. This book is not a good for the industries working at large scale, but it is beneficial for the small scale companies, as it guides them in choosing the architecture for the creation of the data warehouse. Readers view: This is an interesting book, and I have also created a copy of this book on my system. This book is a good source for beginning level users as earlier I dont know about the concept of data warehouse, models, techniques, and architecture relate to it. After reading this book, I have understood the concept that how the data warehouse is a vital source in taking the accurate, and quick decisions. The author MS Raisinghani says about this article that there are various benefits of using this technology as application is created after the creation of data structure and it supports the population process in which the operational data, as well as the data from external systems, can be entered into the data warehouse (Raisinghani, 2016). It helps in event management by using the concept of the trigger. The trigger is executed whenever an event occurs in the system. It also maintains the log of changes and moreover, it provides the time stamp based capture which means it mention ed the time when the changes have been made in the system. I got an interesting concept that data warehouse is not a product, it is a solution. Before going through this book, I thought that it was a product or combination of different products. But, after going into the book, I realized that it is key to resolve various queries, and also the author says that it provides the capability for decision-making process (Doganaksoy, Hahn, 2012). The author Steve Hoberman has also given positive feedback on this book, and he says (through this book) that the data warehouse helps in resolving conflictions; it helps in eliminating various issues like data redundancy, data consistency, etc. (Hoberman, 2016). I get clarification on the various aspects as the author elaborates the process for entering the data into the data warehouse; he has also mentioned the data maintained, and data structure methods (Herreman, 2016). He says that it provides the timely, understandable, accurate, and complet e information. He mentioned that the only drawback of this technique is that it is costly, time- consuming, and inefficient method. He says that it is a costly process so it cant be managed, and maintained by the small scale companies as they invest fewer amounts on maintaining the database as compare to the large scale companies. References Berghel, H. (2015). Simplified integration of Prolog with RDBMS. SIGMIS Database, 16(3), 3-12. CACM Staff, (2011). How to celebrate Codd's RDBMS vision. Communications Of The ACM, 53(10), 7. Doganaksoy, N. Hahn, G. (2012). Data Mining: A Gateway to Better Data Gathering. Statistical Analysis Data Mining, 1(4), 280-283. Gmez, L., Kuijpers, B., Moelans, B., Vaisman, A. (2012). A Survey of Spatio-Temporal Hameed Mousa, A., Shiratuddin, N., Abu Bakar, M. (2014). Virtual Data Mart for Measuring Organizational Achievement Using Data Virtualization Technique (KPIVDM). Jurnal Teknologi, 68(3). Herreman, D. (2016). Data modeling Techniques for Data Warehousing. IBM. Retrieved 13 June 2016, Hoberman, S. (2016). Data modeling techniques explained: How to get the most from your data. Retrieved 15 June 2016 Li, d. (2013). RESEARCH ON DATA MART AND DATA MINING OF WELDING WORKSHOP. Chinese Journal Of Mechanical Engineering, 39(04), 79. Marketos, G., Theodoridis, Y., Kalogeras, I. (2011). Seismological Data Warehousing and Mining. International Journal Of Data Warehousing And Mining, 4(1), 1-16. Naeem, M., Dobbie, G., Weber, G. (2011). HYBRIDJOIN for Near-Real-Time Data Warehousing. International Journal Of Data Warehousing And Mining, 7(4), 21-42. Raisinghani, M. (2016). Adapting Data Modeling Techniques for Data Warehouse Design. Retrieved 15 June 2016 Schuppert, A. Perne, R. (2015). Data Mining mit Prozessdaten (Data Mining with Process Data). At - Automatisierungstechnik, 53(7/2005). Thnh,  . (2012). Macroeconomic data mart. JCC, 24(1). Wegman, E. (2012). Special issue of statistical analysis and data mining. Statistical Analysis And Data Mining, 5(3), 177-177.