Bertrand Russell The Value Of Philosophy Free Essays

Consider a man that looks to material needs as the necessities of life. He travels through his reality in a twenty-four hour pattern of the everyday, never going after a less uninformed presence. Bertrand Russell accepts that these â€Å"practical men†, as society considers them, are wrongly named. We will compose a custom article test on Bertrand Russell: The Value Of Philosophy or on the other hand any comparative point just for you Request Now A significant life to this â€Å"practical man†, surely does exclude the comprehension of a requirement for information. Russell states, â€Å"It is solely among the products of the brain that the estimation of reasoning is to be found; and just the individuals who are not interested in these merchandise can be convinced that the investigation of theory is certifiably not a misuse of time† (page 9). The estimation of reasoning can be discovered when anybody decides to step over the line among things and thoughts. I am asserting, in this occurrence, that way of thinking is significant for being a wellspring of information and comprehension, in addition to other things. Those that endeavor to pick up these are thus going to profit by their endeavors. A man doesn't really require the capacity to understand the whole universe, however just to be available to thought. Previously, men that moved in the direction of this undertaking of deduction, for example, Newton, had the option to take theory and advance it into a different science. This reasons philosophy’s esteem is to a great extent in the chance of a more prominent edification that still can't seem to be resolved. There is an incentive in the way that a more profound reality exists. That life doesn't simply run aimlessly through time, however streams around reason and thought. Information should alone be a sufficient incentive for theory to be an acknowledged wellspring of picking up precisely that end. Thomas Nagel composes, â€Å"†¦humans have the unique ability to step back and review themselves, and the lives to which they are committed†¦Ã¢â‚¬  (page 23). This acknowledgment is one reason that way of thinking contains an incentive for the general public on the loose. Everybody, through looking at and questioning their decisions, can pick up information. Also, information is the essential point of reasoning, as per Russell and my own conclusion. Socrates sums up it best in Plato’s, Apology: Defense of Socrates, when he expressed, â€Å"†¦an unexamined life is no life for a person to live†¦Ã¢â‚¬  (page 40). People were enabled to have points of view and go past the standard presence of lower level living things. To release this ownership unused would disregard the conceivable outcomes of the brain. Nonetheless, the estimation of reasoning for society everywhere is restricted without anyone else statement. The majority will wind up searching for information yet being hindered by the view that the world is of less worth than themselves, or the Self. This will be the ruin of the natural man; he is contained to his greatest advantage. It is practically similar to a snare, man fills his existence with loved ones and accepts that he has discovered his place throughout everyday life. A genuine understudy of theory will have a need of information that is free and unadulterated. This need contains no worries of Self, yet rather of the not-Self. Information shows up when man relinquishes attempting to fit the universe into his reality and rather accommodates his reality into the universe. So as to be a logician, one must beat the limited hover of the Self and of private interests. In this manner the biggest estimation of theory is for the logician, for he can totally be available to the obtaining of information. The majority of the estimation of theory is then sent by implication to the bigger society. The way that way of thinking, as a subject, is inclined to vulnerability can stimulate incredulity in its worth. It very well may be contended that no information can be picked up by considering a field where there are no positive answers. Russell concurs with this moment that he keeps up that regardless of whether answers are resolved, none of them can be demonstrated valid no matter what. The abstract regions of figured, those managing sentiments and contrasts in convictions and practices, would hold no premise in common sense. â€Å"Practical man† will keep on dying in his confined reality, persuaded that being materialistic is the most significant quality to have. Russell himself makes reference to, â€Å"†¦many men, affected by science or useful undertakings, are slanted to question whether theory is nything superior to blameless yet futile piddling, †¦and discussions on issues concerning which information is impossible† (page 9). Nonetheless, Russell negates his own announcements deliberately with the possibility that individuals have an inappropriate perspective on theory. The vulnerability in reasoning is the thing that makes the subject captivating and worth contending possibly in support. So consider the possibility that there are no clear answers. The way toward reaching the resolution that nothing is unchangeable is the place the information lies in hold back to be scholarly. The inquiries of life make for scholarly opportunity in the quest for the unfound answers. Thoughtful examination best works when the longing for information is unadulterated. This would then arrangement essentially with the territory of the not-Self; it must be in association with the Self to make the correct condition for the mind. Russell assists with affirming my explanation that information is the estimation of reasoning when he composes, â€Å"†¦free insight will see†¦without conventional prejudices†¦in the sole and selective want of information as unoriginal, as simply pensive, as it is feasible for man to attain† (page 11). J. J. C. Brilliant accepts that we ought to never expect that we have discovered a definitive and last truth about anything. In any case, that having a dense view will bring us closer than not contemplating it by any means. At that point, any endeavor to push past that line among things and thought will make a positive end. Information, the all out scope of what has been seen and learned, is the total estimation of theory as I would like to think. Rationalists, just as man, can just profit by the examination put on idea. Without the information that way of thinking can give, the world would be a straightforward spot dependent on materialistic perspectives. The well-known axiom that obliviousness is delight would unquestionably be valid. Man would proceed in his regular daily existence, uninformed of the possibility that he is absent. Consider what a waste such a world would be, the point at which the opportunities for undiminished insight and open mindset is directly past the stuff that man hefts around with him. Philosophy’s esteem in information is that it makes man’s life worth making due as well as genuinely living. The most effective method to refer to Bertrand Russell: The Value Of Philosophy, Essay models

Catharine Parr Traills The Backwoods Of Canada English Literature Essay

Catharine Parr Traills The Backwoods Of Canada English Literature Essay In any case, one of the boats officials before long prevents Traill and her better half of this sentiment as he expresses that, in the event that they were nearer, they would discover each assortment of sickness, bad habit, neediness, dirty and famine㠢㠢‚â ¬human wretchedness in its generally appalling and goading structure. They climb waterway towards Quebec. In any case, by and by, they are not permitted to go shorewards because of plague inside the city. Traills record of her encounters so far, that is, the journey and her first perspectives on the Canadian scene pass on both the magnificence of the vistas she saw and their innate risks, as one can suspect that hardship and malady were the steady friends of the terrains common excellence, which Traill is truly adept at depicting in melodious detail. All through her record, the cutting edge peruser masters intriguing subtleties of Canadian life during this period. For instance, she is fascinated when the boat passes islands that have group of dairy cattle munching on them. The skipper clarified that neighborhood ranchers ship the animals to the island on level bottomed pontoons or swim them over, if conceivable, and leave them to touch, with somebody from the homestead paddling out to drain them regularly. In Lower Canada, beneath Quebec, the land has a wild and tough angle, however Traill remarks on the expanded fruitfulness as the boat approaches Montreal and how the land encompassing this city appears to yield her expansion to a moderate effort. Having arrived in Montreal, Trail is struck by the messy, limited, badly cleared or unpaved roads. Eventually, Traill and her better half settle close to the town of Peterborough and turn out to be genuine spearheading pilgrims, as her significant other is qualified for land because of his British military help. Besides, they can buy land that will give them a water facing. All through her letters, it is interesting to peruse Traills British interpretation of North American life. For instance, she is incredulous of log lodges that she sees from the stream where the pioneers have not invested significant time from endurance to plant roses around their casements. In like manner, she is astonished that the children of maritime and military officials and priests remain behind the counter in shops or use a hatchet in the forested areas and still keep up their position and status among the nobility of the nation. In like manner, she is similarly astounded that the Americans she meets are amiable, respectful individuals as opposed to the showing the nefarious habits that she anticipated. Those individuals with the most noticeably awful habits, who showed a feeling of freedom that was not actually reasonable to their genuine station in life were individuals who, such as themselves, were European pilgrims. Specifically, Traill censures a youthful Scotsman who ap peared to be especially resolved on worrying to Traill and her significant other, as English privileged people that in the New World, he was not obliged to watch the comforts of the European class framework. At each point in their excursion, the Traills appear to have a simpler time of taking care of the numerous changes of migration as they have cash and can buy help. For instance, when they at last show up at their property, Traills spouse recruited individuals to log up (that is, to bring the cleaved timbers into stores for consuming) and clear a space for building our home upon. In any case, she discloses to her British mother, and in doing so likewise to her British readership, that they were additionally expected to call the honey bee,' that is, to give all things needed to the amusement of our commendable hive, i.e., the neighbors who collect to raise the dividers of your home, shanty, horse shelter or some other structure in a raising honey bee.' once more, Traill has all the earmarks of being flabbergasted that all proof of class qualifications are dropped with the end goal for neighbors to help one another. It is fascinating to take note of how Traill rapidly figures out how to forsake the ideas of what is legitimate, which she normally carried with her from England, as she adjusts to her new nation. She remarks on the requirement for adjustment by expounding on the various people groups to whom life in Canada is appropriate. For instance, she says that the poor worker fit to this life on the grounds that, following a couple of long periods of difficult work, he can make the most of his own log-house and the products of his property and see his youngsters grow up as autonomous freeholders. In like manner, a rich examiner can do well in the New World. In any case, a privileged person whose propensities have rendered him unfit for physical work isn't fit to life in North American to the scarcest degree, for in the event that he is inactive himself, his better half unrestrained and disappointed, and the youngsters educated to scorn laborThey will before long be brought down to destroy. At the point when the Traill home is done, it sounds incredibly welcoming. The mainstays of their verandah are very beautiful, wreathed with the lush bounce vine, blended in with the red creeper and morning magnificence, the American name for the most awesome blossoming plant. They have an attractive Franklin oven with metal display and bumper for warmth and furthermore a metal railed sofaCanadian painted seats, a recolored pine table, green and white shades and an attractive Indian tangle that covers the floor. Their numerous books involve one side of the room, while enormous maps and prints spread the harsh dividers. Traill has a talent for depiction that breathes life into her whole account, as she paints verbal pictures of scenes and settings that empower her perusers to imagine what she sees and does. Here and there, her responses are astounding. For instance, in portraying the serious cold of a Canadian winter, she appears to be puzzled by the nearness of electricity produced via friction in her dress. In any case, while enduring somewhat in the serious virus. Traill is, as usual, ready to discover something pleasurable about the experience and she likewise records the charms of this season. Before the finish of her account, Traill has completely disposed of all reference that defame her life in North America when contrasted with life in England and grasped opportunity from show, distinguishing herself as a bramble pioneer, composing: we bramble pioneer are progressively autonomous: we do what we like; we dress as we find generally reasonable and generally advantageous; we are absolutely without the dread of any Mr. or then again Mrs. Grundy; and having shaken off the encumbers of Grundyism, we chuckle at the preposterousness of the individuals who intentionally produce once again and embrace their chains. From this entry, it is suggested that the reference to Grundyism alludes to the ideas of decorum that Traill has altogether dismissed as unseemly and senseless inside the setting of outskirts life. It is anything but difficult to see that an incipient feeling of the Canadian national character being produced in her cognizance, as she dismisses class differentiations and grasps the freedom and opportunity conceivable in her new life.

thank u, next The Books That Taught Us Love, Patience, Pain

thank u, next The Books That Taught Us Love, Patience, Pain One taught me love; one taught me patience; one taught me pain If youre anything like me, youve been humming Ariana Grandes newest song to yourself since it came out a couple of weeks ago. You might have seen the memes on Twitter, too, where people reminisce about TV crushes â€" or even TV shows â€" that have also taught them love, patience, and pain. I asked my fellow Rioters which books have played those roles in their lives. Heres what they said. Priya Sridhar: Love: Reading Lolita in Tehran by Azar Nafisi   You want a memoir about oppression, literary analysis, and finding power in the darkness? Then this memoir is for you, about the Iranian Revolution and how books can become our refuge. Patience: And Then There Were None by Agatha Christie This is a case where skipping to the end only makes the rest of the book more delicious. Don’t read it late at night, though. Pain: The Hate U Give by Angie Thomas   It took me a while to finish this book because I screamed when the major character death happened. Patricia Thang: Love: The Trumpet of the Swan by E.B. White I’ve always loved animals, so E.B. White was my jam as a kid, and this is one of the first books that I can remember really grabbing hold of my heart. Patience: The Lord of the Rings by J.R.R. Tolkien At this point I consider myself a HUGE Tolkien fan, and yet, this almost became the only book I ever DNF’d in my life. That goddamn Entmoot, y’all. It’s described as having lasted three days, and I felt every tedious minute of those three days just reading about it. Pain: My Sister’s Keeper by Jodi Picoult When I was a young teen, this book absolutely destroyed me with the gut-punch of a lifetime and taught me that books were not just the generally nice escape havens I had considered them to be. Grace Lapointe: Love: Harry Potter and the Sorcerer’s Stone by J.K. Rowling From the intriguing opening chapter of the first book in the series, my eight-year-old self was hooked for life. Patience: Harry Potter and the Goblet of Fire This book in the middle of the series contained a lot of filler. The Quidditch match at the beginning of the book seemed particularly endless. Pain: Harry Potter and the Deathly Hallows RIP to so many of our favorite characters in the final battle against Voldemort. Yaasmeen Piper: Love: This Will Be My Undoing by Morgan Jerkins Jerkin’s essays and manifestos made me love the skin I’m in even more. When finishing this book I had a refreshed appreciation for black women and all the trial and tribulations we’ve endured. Patience: Last Night I Sang to The Monster by Benjamin Alire Saenz This book will tear you to pieces from start to finish. Saenz paints such a vivid portrait of these characters struggling with their recovery. Though at times this book made me cry, as these characters start to heal so will you. Pain: All the Ugly and Wonderful Things by Bryn Greenwood I’ve never read a book with characters filled with so much pain as All the Ugly and Wonderful Things. At times I wanted to reach into the book and hug some of the characters and say, “It’s going to be okay.” Jenn Northington Love: Wrong to Need You by Alisha Rai This wasn’t my first romance novel, but it was one of the first ones where I felt like I really saw some of my own struggles on the page, and that is an incredible gift. Patience: A Girl is a Half-Formed Thing by Eimear McBride I don’t read much experimental fiction, and when I do I often get discouraged â€" but this dark, twisted gem of a book drew me in and taught me how to read it, line by line and page by page, and it was so worth it. Pain: Heavy by Kiese Laymon In resisting the urge to lie and to sugarcoat his own pain, Laymon lays out what it looks like to confront the truth of your own pain, and it is both inspiring and heart-breaking. What are the books that have taught you love, patience, and pain? Tell us in the comments!

George Carruthers and the Spectrograph

George Carruthers has gained international recognition for his work which focuses on ultraviolet observations of the earths upper atmosphere and of astronomical phenomena. Ultraviolet light is the electromagnetic radiation between visible light and x-rays. George Carruthers first major contribution to science was to lead the team that invented the far ultraviolet camera spectrograph. What Is a Spectrograph? Spectrographs are images which use a prism (or a diffraction grating) to show the spectrum of light produced by an element or elements. George Carruthers found the proof of molecular hydrogen in interstellar space by using a spectrograph. He developed the first moon-based space observatory, an ultraviolet camera (see photo) that was carried to the moon by Apollo 16 astronauts in 1972*. The camera was positioned on the moons surface and allowed researchers to examine the Earths atmosphere for concentrations of pollutants. Dr. George Carruthers received a patent for his invention the Image Converter for Detecting Electromagnetic Radiation especially in Short Wave Lengths on November 11, 1969 George Carruthers Work With NASA He has been the principal investigator for numerous NASA and DoD sponsored space instruments including a 1986 rocket instrument that obtained an ultraviolet image of Comet Halley. His most recent on the Air Force ARGOS mission captured an image of a Leonid shower meteor entering the earths atmosphere, the first time a meteor has been imaged in the far ultraviolet from a space-borne camera. George Carruthers Biography George Carruthers was born in Cincinnati Ohio on October 1, 1939, and grew up in South Side, Chicago. At the age of ten, he built a telescope, however, he did not do well in school studying math and physics but still went on to win three science fair awards. Dr. Carruthers graduated from Englewood High School in Chicago. He attended the University of Illinois in Urbana-Champaign, where he received a bachelor of science degree in aeronautical engineering in 1961. Dr. Carruthers also obtained his graduate education at the University of Illinois, completing a masters degree in nuclear engineering in 1962 and a doctorate in aeronautical and astronautical engineering in 1964. Black Engineer of the Year In 1993, Dr. Carruthers was one of the first 100 recipients of the Black Engineer of the Year award honored by US Black Engineer He has also worked with NRLs Community Outreach Program and several outside education and community outreach organizations in support of educational activities in science at Ballou High School and other DC area schools. *Description of Photos This experiment constituted the first planetary-based astronomy observatory and consisted of a tripod-mounted, 3-in electronographic Schmidt camera with a cesium iodide cathode and film cartridge. Spectroscopic data were provided in the 300- to 1350-A range (30-A resolution), and imagery data were provided in two passbands (1050 to 1260 A and 1200 to 1550 A). Difference techniques allowed Lyman-alpha (1216-A) radiation to be identified. The astronauts deployed the camera in the shadow of the LM and then pointed it toward objects of interest. Specific planned targets were the geocorona, the earths atmosphere, the solar wind, various nebulae, the Milky Way, galactic clusters and other galactic objects, intergalactic hydrogen, solar bow cloud, the lunar atmosphere, and lunar volcanic gasses (if any). At the end of the mission, the film was removed from the camera and returned to earth.George Carruthers principal investigator for the Lunar Surface Ultraviolet Camera, discusses the instru ment with Apollo 16 Commander John Young, right. Carruthers is employed by the Naval Research Lab in Washington, D.C. From left are Lunar Module Pilot Charles Duke and Rocco Petrone, Apollo Program Director. This photograph was taken during an Apollo lunar surface experiments review in the Manned Spacecraft Operations Building at the Kennedy Space Center.

The Prologue Of Antigone - 899 Words

This passage is an excerpt from the prologue of ‘Antigone’, an Ancient Greek tragedy by Sophocles. In this scene, Antigone is trying to convince her sister, Ismene, to help her bury their brother, Polynices. It is significant to the rest of the play as gives explanation to future events and establishes the characters of Antigone and Ismene and their roles in the overall plot. Additionally, the excerpt gives a strong idea of the setting. In the scene, the audience can infer ideas about past events, political climate, place, and time. The passage also reveals central themes in the play such as: mortality, gender, law and power, and loyalty. It gives the audience a hint to the values and choices the characters struggle with as they have to†¦show more content†¦Ismene also has high regard for her family however lacks will and confidence to do the same as Antigone. She is afraid of breaking the law and believes she is â€Å"not strong enough†. Ismene is also s ubmissive to the patriarchy and its rulers that govern her country, she says to Antigone: â€Å"we are women; it is not for us to fight against men; our rulers are stronger than we†. In comparison to Antigone, we can see that Ismene is not as steadfast in her beliefs or morality. In the passage, we can clearly see Sophocles exploration of said ideas and themes through his characters. Throughout the play, the sisters’ key traits and nature remain mostly stagnant nevertheless, they do change in some aspects, notably their courage and regret. Later in the play, it is illustrated that Antigone has capacity for lamentation and humility. Although she seems unapologetic and â€Å"shall be content to lie beside a brother whom [she] love[s]† in this excerpt, before she is entombed, she grieves for the life she did not get a chance to live. Subsequent to Antigone being caught for her crime, Ismene takes unwonted action. Ismene decides to pretend that she also buried Polyn ices so that she can also be punished. This decision illustrates that Ismene can be brave and fortitudinous, contradicting the impression of her in this passage. The famous philosopher, Aristotle, identified that a tragic hero is necessary to the structure of aShow MoreRelatedThe Conflict Between Antigone And Creon836 Words   |  4 PagesIn Sophocles’ tragedy, Antigone, Sophocles follows Aristotle’s definition of tragedy which is constructed in six parts: plot, character, diction, thought, spectacle, and song. Although these six parts are used to produce a successful tragedy, thought is especially important in Antigone because it encapsulates the plot of the play. The thought, or the theme, is revealed in the dialogue from the Prologue to the Second Episode. As a result, Antigone’s and Creon’s dialogue exhibits two interrelated themes:Read MoreThe Chorus as a Homonym 1168 Words   |  5 Pages In Jean Anouilh’s Antigone and in Euripides’s Medea the Chorus is both a tool for characterization and representation of theme; however, the ways they function in their respective plays are noticeably different. The differences in the way the Choruses function in each respective play make the name of the character â€Å"the Chorus† a homonym, same name different meaning. The Chorus in Antigone functions to incorporate the technique of metatheatre. The purpose of metatheatre is to provide a separationRead MoreThe Importance Of Justice In Antigone1133 Words   |  5 PagesJustice is the essence of life and is what the whole world should aspire. It is also all what Antigone wanted for herself and for her brother. 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The prologue is where the tragedy’s topic is introducedRead MoreShakespeares Julius Caesar and Sophocles Antigone789 Words   |  3 Pagesmoral standards, courage and honesty. Many characters showed such traits in Julius Caesar by William Shakespeare and Antigone by Sophocles (for example, Brutus being known as an honorable man even by his enemies), but of all the characters in both plays, Antigones and Antonys acts of nobility are most prominent. While both Antigone and Antony exhibited noble characteristics, Antigone demonstrated the most honorable character due to her good intentions and integrity. Antony did not have such anRead MoreAnalysis Of Shakespeare s Antigone And Julius Caesar 1297 Words   |  6 PagesHonors Essay: Antigone and Julius Caesar Option 3 The involvement of women is very important in the two stories, Julius Caesar by William Shakespeare and Antigone by Sophocles. Throughout each story it becomes clear that the ideas and biases surrounding women play an important part in how society views women, and how women see themselves. Readers also see these ideas spread into the minds of women affecting what they do in their life, and how they act. Antigone and Ismene, from Antigone, and CalpurniaRead MoreAntigone Study Guide Questions Wood722 Words   |  3 Pagesï » ¿Antigone Study Guide Questions Prologue and Scene One 1. What differences do you notice between Antigone and her sister, Ismene? Examine their character. 2. The action of the play begins immediately with a conflict between Antigone and Ismene. What is the cause the cause of the conflict? 2. Why do you think that Ismene will not help her sister with her plan? 3. Do you think Antigone has thought her decision through? Why or why not? 4. Why does Antigone get so angry at her sister? Do you thinkRead More Antigone: Hero Or Fool? 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Their morals lead the two in a direction to honor Antigone’s brother, Antigone protects her sister from certain death, and the lovers commits suicide for the sake of innocence itself. CreonRead MoreEssay about The Tragic Hero Creon in Antigone by Sophocles818 Words   |  4 PagesIn the play, Antigone by Sophocles, at first glance readers assume that Antigone is the tragic hero. However, this is not the case. Although Antigone does display some characteristics of a tragic hero, I believe that Creon is the true tragic hero. For many readers, it may be a challenge to see Creon as the tragic hero; however, when you take a second look at the play, you can see that Creon displays every quality of a tragic hero. Creon’s power and pride as well as going against the gods all lead

Middle East case studies Elixir Technology Free Essays

1.  Ã‚  Entering the Middle East market through Malaysia is the best alternative at this time. Malaysia has a market not dissimilar with that of the Middle East. We will write a custom essay sample on Middle East case studies: Elixir Technology or any similar topic only for you Order Now Entering Middle East via this option gives the Company an opportunity to partner with a company which has insights on working in a Muslim country. This way, Elixir is not starting with zero knowledge since this entry strategy is a duplication of what it did in Japan. 2.  Ã‚  Elixir develops and sells computer software which includes the stand-alone and the server-side versions of the Elixir Report. These two versions provide business an enterprise-class reporting solution. ER â€Å"was designed for high-performance operation, capable of handling large report generation† (O’Neil, 2004, p. 4). As such, Elixir Report is â€Å"able to accommodate multiple input data source types and provide reports in multiple output formats† (O’Neil, 2004, p. 4). Aside from these benefits, ER can support multilingual reporting and platform independence, and can support mobile devices. The core competencies of Elixir for its ER are: Speed in adopting changes in the environment and technologies into ER’s programs and applications. As a matter of Elixir claims that flexibility is built in into the Company’s spirit   (O’Neil, 2004, p. 8). Network with technology vendors. This relationship enables Elixir to rapidly fit its ER into a client’s information system which was sourced from a particular vendor or several vendors. Capacity and capability to localize the Elixir Report into specific customer requirements. This capacity and capability is a result of the unique design of ER which enables Elixir for â€Å"easy modification for accommodating local cultural needs† (O’Neil, 2004, p. 8). 3.  As the Company recognized the positive relationship between its understanding of it’s customers’ technology vendors and the efficiency of the sales process, Elixir made developing partnerships with other technology vendors the basis of its â€Å"marketing, sales and distribution strategy† ((O’Neil, 2004, p. 6). Another component of its marketing strategy is stressing that other technology companies translate their products instead of localizing them as what Elixir does (O’Neil, 2004, p. 8). Also, the Company provided for a free trial of the software which can be downloaded from the Company’s Web site (O’Neil, 2004, p. 9). By scaling the software into different versions and selling licensing agreements, Elixir is able to sell ER at a price 50 percent lower than its competitors. This scalability, however, is not a liability in terms of software performance. 4.  Ã‚  Elixir, as to its plan and strategy to expand outside Singapore, has been averagely successful. For example, in its entry into Japan, the Company’s initial marketing strategy – advertising in international magazines – generated low response from Japanese customers. However, this was remedied with the Company’s partnership with GrapeCity which enabled Elixir to bridge cultural gap and language barriers. This same strategy can be used in entering the Middle east market. 5.  Ã‚  Ã‚  Ã‚  Yes, based on the facts presented, it is financially beneficial for Lau Shih Hor to take Elixir into the Middle East. I suggest that Lau pursues a distribution partnership with a Malaysian-based company. This company has a better understanding of the Middle East market than Lau which will allow the Company to better localize ER which is one of the product’s competitive advantages. References O’Neil, E. (2004). Elixir Technology – Entry into the Middle East. Ivey Management Services, pp. 1-24. How to cite Middle East case studies: Elixir Technology, Essay examples

Police Corruption Essays (3149 words) - , Term Papers

Police Corruption Analysis Of Police Corruption Analysis of Police Corruption Police corruption is a complex phenomenon, which does not readily submit to simple analysis. It is a problem that has and will continue to affect us all, whether we are civilians or law enforcement officers. Since its beginnings, may aspects of policing have changed; however, one aspect that has remained relatively unchanged is the existence of corruption. An examination of a local newspaper or any police-related publication on any given day will have an article about a police officer that got busted committing some kind of corrupt act. Police corruption has increased dramatically with the illegal cocaine trade, with officers acting alone or in-groups to steal money from dealers or distribute cocaine themselves. Large groups of corrupt police have been caught in New York, New Orleans, Washington, DC, and Los Angeles. Methodology: Corruption within police departments falls into 2 basic categories, which are external corruption and internal corruption. For a corrupt act to occure, three distinct elements of police corruption must be present simultaneously: 1) missuse of authority, 2) missuse of official capacity, and 3) missuse of personal attainment. (Dantzker, 1995: p 157) It can be said that power inevitably tends to corrupt, and it is yet to be recongnized that, while there is no reason to suppose that policemen as individuals are any less fallible than other members of society, people are often shocked and outraged when policemen are exposed violating the law. The reason is simple. There diviance elicits a special feeling of betrayal. Most studies support the view that corruption is endemic, if not universal, in police departments. The danger of corruption for police, and this is that it may invert the formal goals of the organization and may lead to the use of organizational power to encourage and create crime rather than to deter it (Sherman 1978: p 31) General police deviance can include brutality, discrimination, sexual hara ssment, intimidation, and illicit use of weapons. However it is not particularly obvious where brutality, discrimination, and misconduct end and corruption begin. Essentially, police corruption falls into two major categories-- external corruption which concerns police contacts with the public, and internal corruption, which involves the relationships among policemen within the works of the police department. The external corruption generally concists of one ore more of the following activities: 1) Payoffs to police by essentially non-criminal elements who fail to comply with stringent statutes or city ordinances; (for example, inviduals who repeatedly violate traffic laws). 2) Payoffs to police by individuals who continually violate the law as a method of making money (for example, prostitutes, narcotics addicts and pusshers, they have accepted bribes; they have sold narcotics. They have known of narcotics vilolations and have failed to take proper enforcement action. They have en tered into personal associations with narcotics criminals and in some cases have used narcotics. They have given false testimony in court in order to obtain dismissal of the charges against a defendant. (Sherman 1978: p 129) A scandal is perceived both as a socially constructed phenomenon and as an agent of change that can lead to realignments in the structure of power within oraganizations. New york, for instance, has had more than a half dozen major scandals concerning its police department within a century. It was the Knapp Commission in 1972 that first brought attention to the NYPD when they released the results of over 2 years of investigations of alleged corruption. The findings were that bribery, especially amoung narcotics officers, was extremely high. As a result many officers were prosecuted and many more lost their jobs. A massive re-structuring took place aftewards with strict rules and regulations to make sure that the problem would never happen again. Be that as it may , the problem did arrise once gain... Some of the most recent events to shake New York City and bring attention to the national problem of police corruption

Southwest case Essays

Southwest case Essays Southwest case Paper Southwest case Paper Southwest stock outperformed all other U. S. Stocks. 7 This and Southwests position as the only consistently profitable U. S. Airliner validated its unconventional methods (see Exhibit 2 for financial performance and Exhibit 3 for comparison of Southwest Airlines to other U. S. Carriers). On the customer service side, Southwest won the airline industry Triple fewest delays, the fewest complaints, and the fewest mishandled bags-?not only for individual months but for entire years-?1992 through 1996. Southwest also prided itself on consistently offering the lowest fares in the industry. The US. Department of Transportation in 1 993 published a report on the so-called Southwest effect, documenting the impact on fares and passenger volumes when Southwest entered a market. According to the report, when Southwest announced service on a new route, other airlines serving that route almost immediately reduced their fares, and moieties increased their frequencies as well. The effect reduced fares by an average of 65%, and increased passenger traffic by up to 500% (Exhibit 4 shows the Southwest effect on the 6 James Highest, Southwest Airlines: 1 993 (A), HOBS case No. 94-023, p. 3. 7 Calculations performed on data supplied by CROPS. 8 Southwest was profitable in all but the first of its 30 years. 3 Baltimore-Providence market). Southwest employees liked to point out that their net impact was to offer the freedom to fly to a larger segment of the traveling public, expanding the overall market rather than just taking market hare. By January 2001 , Southwest served 58 airports in 29 s tates and was the fourth largest domestic carrier in terms of customers boarded. The company operated more than 2,650 flights a day using a fleet of 342 Boeing sass with an average age of 8. 4 years-?one of the youngest pure jet fleets in the domestic industry. Southwests success inspired competitors-?including People Express, Midway, Value Jet, Continental Elite, Delta Express, Metro and the United Shuttle-?to copy elements of its strategy, but none had generated sustainable profits from doing so. Getable was the newest airline to imitate elements of the Southwest model, and though its early performance was impressive, the jury was still out on its longer-term success. Even so, Southwest performance had slipped over time; the company had not earned a Triple Crown since 1996. The Baltimore Station In 1993, Southwest selected the BOW airport in Maryland, 30 miles from Washington, D. C. , as its first East Coast gateway and began service from BOW to Cleveland and Chicago on September 15. One year later, the airport broke ground on a $27. 6 million expansion project to extend the terminal and create six more domestic gates. Southwest signed up for all of them. Through the 1 9905, Southwest added more cities to its non-stop service from Baltimore (see Exhibit 5). After just seven years, Southwest share of BOW passengers reached 34%, displacing the perennial leader, US Airways (28. 5%). Baltimore had become one of Southwest eight mega-stations-?so called because it offered more than 100 flight departures per day. (Exhibit 6 lists all cities served by Southwest. ) Given the continued growth in number of flights projected by management, Southwests Baltimore gates would reach capacity limits later in 2001. Southwests bag sorting area had reached its capacity already. BOW was planning to renovate Concourses A and B to provide more gates for the company. Executive Vice President of Operations Jim Weinberg explained the importance of BOW to Southwest: Baltimore plays an important role in Our system, competitively, given its location in the center of the East Coast. Weve had a lot of serious discussions internally about how much more Baltimore can take given the facility constraints that we have, and the shortage of employees that we have there. Its a customer service issue because we dont want to put our customers through [an] experience in an airport where we cant deliver the type of reduce that our reputation stands on. One specific operational challenge in Baltimore was the volume of connecting passengers and their impact both on station performance and on the customers experience with Southwest. Exhibit 7 compares Bis Southwest passengers to those at other large Southwest stations. Passenger Connections as an Operational Challenge Matt Heaven described the effect of passenger connections on Baltimore operations: Over the past year, 800,000 passengers made connections here-?about 25% of our total passengers at Baltimore-?with probably an equal number of transferred bags. This makes us one of Southwesters biggest transfer stations. Right now, our reservations system generates 4 602-1 56 passenger itineraries with a minimum connecting time of 35 minutes. This means that passengers cant book connecting flights with less than 35 minutes scheduled between the arrival of the first flight and the departure of the second flight. Today, 83% of Southwests revenue is from direct one-stops or non-stop flights. The other 17% of our revenue is from connecting flights. We do not want to leave 17% of our revenue on the table, but these connecting flights have complicated our service design. We might have three people a month going from Fort Lauderdale, Florida to Spokane, Washington, yet the computer system carefully adjusts the entire system schedule to make that flight convenient. This is compounded by the fact that we have given our people at individual stations and at customer service in Dallas the authority to make decisions about holding a flight. Our employees want to serve the customer-?thats their job-?so we end up holding flights pretty often. Now we are rethinking the practice of holding the 100 passengers ready to leave Nashville for Spokane-?a hold that will ripple throughout the system-?for the nee person whose flight has not yet arrived from Fort Lauderdale. Jim Weinberg placed Bowls case within the context of the total system: Connections definitely are a challenge. Its not that the percentage of our passengers who connect has changed that much. Overall, for the system as a whole, connections have been relatively constant over the past 10 years, in the 20% range. What has changed is that we have some cities like Baltimore that have a disproportionate number of connecting passengers. So connections have become more concentrated in certain cities than they used to be in our system. For example at Baltimore, I think theyre closer to 30%. Colleen Barrett, Southwests President and Chief Operating Officer, pointed out that any workable solution would have to fit Southwests particular vision: Most airlines schedules are operationally driven. Ours is marketing driven. When we develop a new flight schedule, our first priority from a marketing standpoint is, Where do we need non-stop flights? The second priority is to create the optimum number of one-stop and two-stop direct flights from a marketing standpoint. The last priority is, What can we make from connections? Connections are a significant part of our revenue, but from a marketing standpoint, based on what the customer wants, it is our last priority. Coordinating Southwests Baltimore Operations: Flight 110 Southwests airport operations were unique in the U. S. Industry. Unlike other carriers such as American Airlines, which centralized aircraft turnaround and ground operations and managed each of its daily flights from its headquarters using an integrated computer system,l O Southwest decentralized this coordination, leaving it to employees on site at its airport stations. Coordination had two aspects: the coordination of Southwest flights not and out of a given station, and the coordination of each flight turnaround. Operations coordinators and supervisors managed the former task, and operations agents the latter, as discussed below. Like American, Southwest had managers responsible system-wide traffic flow based at Dallas headquarters. Unlike American, these 9 In which ongoing passengers to a final destination would stay onboard while an aircraft took on additional passengers at an intermediate airport. 10 See Aspen Andersen and F. Warren McFarland, American Airlines: Object Oriented Flight Dispatching Systems, HOBS case No. 195-046. Southwest supervisors on duty (SOD) did not orchestrate local changes from Dallas but worked with the operations supervisors at individual airport stations to manage overall traffic flow. Consistent with its high supervisory ratios, Southwest relied on operations supervisors to look several hours ahead of the course of the daily flight schedule in order to identify potential problems before they emerged. Constant contact with Dallas SOD kept the ops supervisors informed of systemic developments likely to affect traffic in and out of their station, 1 1 and also helped assure that the solutions they reposed did not unduly burden the system beyond their station. The ops supervisors, in coordination with the SOD, would then work to design solutions to these challenges. In practice these included holding planes or resolving delays, coordinating gate usage accordingly, changing planes, and so on. In addition to monitoring the schedule, the ops supervisors also mentored ops agents and were frequently at the gate with them helping with difficult turnarounds created by overbooking, delays, or baggage issues. Southwest staffed its ops agents at much higher levels than other airlines did. Ops agents coordinated all aspects of flight turnaround, effectively span inning the boundaries of the 12 participating groups of handlers, and were empowered to organize and coordinate all aspects of the turnaround, from beginning to end, to maximize speed, productivity, and efficiency. 12 The high staffing levels allowed Southwest to assign a single flight to each ops agent (rather than the industry norm of multiple flights per agent). That agent would begin preparing for and tracking the single aircrafts turnaround an hour prior to its arrival and be totally focused on that flight up through its aperture and the transfer of paperwork and information downstream to the ops agent at the unwounded flights destination. The ops coordinator brought all the strands of activity together from the Coordinators Room, a communications nerve center at the station, managing the execution of decisions made by the supervisory team and communicating with Dallas, ops supervisors, ops agents, and pilots in flight to ensure that all concerned were informed. The ops coordinator role was filled by ops agents on a rotating basis. The following pages recount the how the Southwest team at Baltimore managed the turnaround of Flight 110 on June 7. The Operations Coordinators Alice, the on-duty ops coordinator, and Darlene, her assistant coordinator, worked from the Coordinators Room on the tarmac level to bring in arriving flights and assign them to gates. In the room with them were the ramp coordinator and the customer service coordinator. The ops supervisors worked just outside the coordinators office, and streamed in and out constantly with updates and information. During their 3:00 p. M. To 1 1 p. M. Shift, Alice and Darlene were expecting 63 flights at Southwests 16 gates, a typical evening. Their colleagues on the morning shift had brought in 64 lights to the same 1 6 gates. Alice and Darlene could view two of the gates directly through the large window facing the tarmac, and the other 14 via television screens mounted above and to their right. At a glance they could watch aircraft being marshaled into their gates, getaways being placed into position, and aircraft being serviced by the ramp crew assigned to each gate. They 1 1 Delays caused by weather, or back-ups at particular airports, etc. 12 Jody Hoofer Getting, Coordinating Services Across Functional Boundaries: The Departure Process at Southwest Airlines, in Ron Kemp and John Wood, des. Best Practices in Customer Services: Case Studies and Strategies (Amherst: HARD press, 1999). 6 were in radio contact, through a company specific frequency, with Southwest airplanes arriving or departing Baltimore. 3 Throughout the day, Southwest employees continually updated OTIS (Operations Terminal Information System)-?an internally developed system for tracking flight information. OTIS contained anticipated passenger totals (revenue passengers as well as non-revenue passengers such as Southwest employees), in addition to all the information that each station sent down-line o the ne xt station receiving a flight. OTIS included information pertinent to Southwests operations, such as the weather, system-wide, and particular flight delays. Each delay was tagged with its location and cause-?boarding passengers, late arrival, equipment, radar, and so on. Lices OTIS screen tracked all flights bound for Baltimore. The left side of the screen listed all the incoming flights with their scheduled and expected arrival times. For every incoming flight, the right hand side of the screen listed its outgoing number and the scheduled departure time. Each flight entry had multiple status indicators, and double-clicking on them provided additional information about the flight (see Exhibit 8 for a screen view of OTIS). Flights that were expected to arrive late or early required particular attention, since either event could require changes to gate assignments, with possible repercussions for all departments preparing to turn those flights around. Darlene helped Alice coordinate maintenance responses to requests called in by inbound pilots, and by discussing with the dispatch SOD at Southwests Dallas headquarters any local changes that might affect the scheduling of flights, lanes, or crews beyond Baltimore. Darlene was also responsible for updating the Flight Information Display System (FIDS) that displayed information on gate assignments and arrival and departure times throughout the airport for Southwest employees and passengers. Alice and Darlene had already noticed that Eight 1 10 from Nashville had left 40 minutes later than expected. Regularly scheduled to arrive at 8:15 p. M. , now showed up on OTIS as expected in at 8:55 p. M. Onboard were 33 passengers due to make connections in Baltimore. Six of them were connecting to Flight 232 to Buffalo, departing at 8:40 p. M.

Fiction Writing Tips

Fiction Writing Tips Writing fiction is an art that is learned over time. One learns to write stories by writing and reading all the fiction writing tips that they can find. A good writer tends to be very observant of their surroundings and reads everything they can get their hands on. And most of all, they carve out a designated time every single day to write. Here is some fiction writing tips that any writer needs to know in order to produce a believable fiction that readers will enjoy reading. Fiction Writing Tip #1: Plot and character development. A good story will have a series of events that connect and unfold in a chronological order. Keep it tightly controlled without allowing it to stray off course in order to keep the readers interested. They’ll keep reading to see how all the different points in the story connect at the end. Fiction Writing Tip #2: Create memorable characters. The reader has to actually feel that the character could possibly be an actual person before they can identify with your story. Using dialogue, actions and thoughts to define the character for the readers. The reader should be able to create the image and idea of who your character is through their speech, mannerisms and thoughts rather than have every single detail spelled out for them. Fiction Writing Tip #3: Without proper setting the reader is likely to get lost in the story. The writer needs to be able to weave the setting by using atmosphere, location and mood into the story line. This way the reader stays grounded by knowing where the story is taking place and what the general atmosphere is like. Fiction Writing Tip #4: Make dialogue realistic and close to real life. However, this is one of the trickier fiction writing tip. If dialogue is made to mirror true life too much, it will make for a boring and tedious read. Use dialogue to describe characters, show personality and even to project events. Fiction writing tips show that interesting dialogue will grab a reader and carry them through the story. Don’t try to get too creative with dialect or slang especially with the main characters for this can slow down the story too much. It is good fiction writing tips to show the character by using varying forms of dialogue to show the character but too much of it can slow things down dramatically. Fiction Writing Tip #5: Establish point of view. Decide how the story is going to be told; if it’s going to be in third person or first person, you need to make that decision before you ever set pen to paper. Certain stories have to stay on a certain track depending on how the point of view is determined. First person has to be told strictly from the first person point of view, which means it’s basically all about the main character. Third person allows for the actions of all the characters but limits the narrator from describing the inner thoughts or feelings about them. Fiction Writing Tip #6: Craft your own writing style. It’s basically how the writer decides to tell the story. Short concise sentences that make strong statements are desirable. Avoid getting too wordy and fanatical about the English language. The smoother the story flows, the easier it will be for the reader to read along with it. These fiction writing tips are good for any writer to know and utilize in their craft. By following these simple fiction writing tips, one can create a successful story that everyone will enjoy reading.

Regulatory Interventions in the 2008 US Post-Economic Crisis Assignment

Regulatory Interventions in the 2008 US Post-Economic Crisis - Assignment Example However, there is a need to generate productivity following the series of Stimulus Funds in order to multiply the capital infused in trillions of dollars. Or the economic recovery will be transient and may return to perform another economic recession, right after funds are consumed. Regulations spearheaded by the Dodd-Frank Act are meant to make the financial institutions and big corporations more careful in their risk management. Such regulations were found to be critical after deregulation was given a chance to work for over 30 years and yet failed with its grandstanding recession. The question remaining is how funds can be effectively channelled to entrepreneurs given the past experiences wherein a greater part of the Stimulus Funds never reached the Small Business Entrepreneurs (SBEs) who can use capital to generate more productivity, hire people, and earn profits. Most of the Stimulus Funds went to social welfare and large corporation bail outs. Further study is required to eval uate the possibility of reinstating the Glass-Steagall Act for the purpose of further regulating the banks to focus on diligently supplying funds to SBEs and supporting those SBEs with sufficient guidance in order to earn successfully. This can logically stop the banks’ vested interests on Investment Portfolios since they will not be allowed to engage in other investment activities except to lend entrepreneurs what they will need in order to progress. I. Introduction Right after the economic recession declared by the National Bureau of Economic Research (NBER) to have lasted December 2007 all the way to June 2009, the phenomenon was described as not only â€Å"the longest and deepest recession of the post-World War II era† but also the â€Å"largest decline in output, consumption, and investment, and the largest increase in unemployment, of any post-war recession† (Labonte, M. 2010, p.2). Stimulus funds from the Federal Reserve worth more than a Trillion Dollars along with the monetary policy of maintaining almost zero interest rate, facilitated the recovery. $700 billion, which was later reduced to $ 470 billion infused into the financial system was done via a program called Troubled Assets Relief Program (TARP) in October 2008. The US Government purchased real estate properties that lost their values as a result of the recession, for the purpose of adding some liquidity to the banks. As of mid-2012, most programs under the TARP were reported closed. Major beneficiaries rescued were Fannie Mae and Freddie Mac, AIG, Citigroup, and Lehman Brothers of the financing sector, and later included General Motors and Chrysler of the automobile sector. Saving the giant enterprises reduced the need to retrench and lay-off employees. However, there were economic

Connex Market Research Essay Example | Topics and Well Written Essays - 3250 words

Connex Market Research - Essay Example en the system was established, it was set up under assumptions and predictions made for stricter working hours and it is for the same reason that express trains were rarely run. However, express services had to be introduced as time passed and the 1970s saw a major revamping of the Melbourne Train System. These changes were welcomed by commuters and the 1980s and 1990s saw an increasing number of people choosing to take the train rather than to drive to their destinations (Morphet, 2008). However, the system was not designed to meet an exponential increase in passenger demand and had to be stretched in its functioning in order to cope with the same. Issues began to develop in scenarios where train paths crossed each other and express trains had to share tracks as well as junctions, causing delays to take place. Considering the nature of the train system, it is evident that a single delayed train can cause a chain reaction of delays for other trains as well. Once a delay occurs or a train is taken off operation, it causes an increase in the number of passengers trying to board an individual train, causing an increase in the time required for passengers to get on and off the trains. This time is also often referred to as Dual Time (Middeldorp & Klop, 2005). The increase in dual time causes trains to take longer at each station, causing even more increased delays. It is therefore clear that the implications in the case of a single delay in the train transport system are very similar to a Domino Effect. Needless to say, there is a strong need for safety to remain uncompromising at all times but it is imperative to note that unless a balance between safety and efficiency is maintained, the train begins to lose its utility as a commuting mean. On January 28, rail commuters in Melbourne found themselves facing what came to them as nothing less than an odyssey when they discovered that nearly 200 trains had been cancelled, bringing a halt to services on three lines.

An Argument Of The Lack Of Lawyer?s Morals :: essays research papers

Synthesis Paper   Ã‚  Ã‚  Ã‚  Ã‚  I clearly remember one wild and crazy Saturday night, I had just turned 19 years old and was out celebrating with my buddies. On my way home I decided to act like if I was on an episode of â€Å"COPS† and was arrested for drunk driving, reckless driving, evading police, resisting arrest, and underage drinking. When I went to court for my first hearing I was facing a minimum of one year in jail, five thousand dollars in fines, and a two year suspension of my drivers license. Right then I knew then that I had to find myself a lawyer and was not going to settle for a worthless public defender. As I was walking out of the courtroom a lawyer approached me and asked if I needed a lawyer. Before I could answer he said he could get my case dismissed and all of my charges dropped for three thousand dollars. He didn’t even know all the details of my case and already knew he could win my case. The lawyer didn’t care whether I was guilty or innocent he ju st wanted the money for taking my case. This goes to show that some lawyers don’t care who is innocent or guilty as long as they can get paid a good sum of money for your court case. I will show you that some lawyers aren’t interested about who is innocent or guilty all they want is the chance to profit from the case. I have included three cases in this essay where lawyers don’t care whether their clients are innocent or at fault. The first case I will be discussing is Liebeck Vs McDonald’s. In this case an 81 year old woman (Stella Liebeck) using the drive through window at a local McDonald’s ordered a cup of coffee. While in her vehicle Liebeck spilled the coffee on her lap and groin area and received second and third degree burns from it. With a lawyer on her side she filed a lawsuit stating that McDonald’s coffee was served too hot and it was a dangerous temperature. McDonald’s would not settle out of court because they believed they had proof of negligence on the victim, and would win the case. After a long and timely lawsuit, McDonald’s lost the case and the jury awarded Liebeck 2.9 million dollars. We all know that Liebeck was at fault for spilling coffee on herself, but to the lawyer it doesn’t matter.

Superflat

Bijutsu Fine art Kindai Bijutsu Modern art Manga Manga are comics and print cartoons, in Japanese and conforming to the style developed in Japan in the late 20th century. Otaku Known as a mass media product presenting Japanese Culture, anime, has gained an increasing exposure and acceptance overseas during the 1990s.The term otaku, which was coined in 1982 and came into popular usage by 1989, is usually translated as ‘geek’ or ‘aficionado,’ and refers to a group of people who ‘take refuge in a world of fantasy, drinking in the images supplied by the modern media – usually from television, magazines and comic books, but also computer images or video games’ (Baral 1999: 22). The etymology of â€Å"otaku† was drawn upon the work of Volker Grassmuck in his seminal otaku-studies article: I'm alone, but not lonely†: Japanese Otaku-Kids colonize the Realm of Information and Media, A Tale of Sex and Crime from a faraway Place. Superf lat art â€Å"The world of the future might be like Japan is today – Superflat. Society, customs, art, culture: all are extremely two-dimensional. It is particularly apparent in the arts that this sensibility has been flowing steadily beneath the surface of Japanese history †¦ [Superflat] is an original concept that links the past with the present and the future. † (Murakami, 2000: 9)Superflat is a concept and theory of art created by the contemporary Japanese artist, Takashi Murakami. The Superflat (2000) exhibition in Tokyo marked the launch of this new aesthetic which took contemporary Japanese art and identity into a globalised milieu of critical thought. The exhibition, which was curated by Murakami and subsequently travelled to the United States, featured the work of a range of established and emerging artists drawn from art and commercial genres in Japan. As an essential part of Murakami’s political strategy, Superflat was always designed to travel g lobally.An elaborate, bilingual catalogue Super Flat (Murakami, 2000), which included Murakami’s manifesto, A Theory of Super Flat Japanese Art, accompanied the exhibition. In this manifesto Murakami affirmed that the Superflat exhibitions were created to provide a cultural-historical context for the new form of art that he was proposing, and which was specifically exported for Western audiences. Superflat art, as a cultural text, is intricately enmeshed in the tensions between the location and representation of local/global cultural identities.These identities, while proffering resistance through the assertion of difference, are also formed as part of the processes of globalization rather than in strict opposition to it (Robertson, 1995). In producing Superflat for Western art markets and Japanese art worlds, Murakami addresses existing discursive knowledge of Japanese art, history and popular culture, while simultaneously presenting a new variant of those identities. In thi s way, Superflat is part of the politics of commodification and expression of cultural difference generated in global consumption.Murakami’s Superflat concept identifies a new aesthetic emerging from the creative expressions produced in Japanese contemporary art, anime (Japanese animation), manga (graphic novels), video games, fashion and graphic design. Superflat is presented as a challenge to the institutions and practices of bijutsu (fine art), which Murakami argues are an incomplete import of Western concepts. Murakami is specifically referring to the modern institutions of kindai bijutsu (modern art) that were adopted during the Meiji period (1868–1912) as part of Japan’s process of modernization and Westernization.To Murakami, the innovation and originality of post-1945 forms of commercial culture represent a continuation of the innovations of the Edo (1600–1867) visual culture. Murakami problematically argues that Edo culture represents a more â₠¬Ëœoriginal’ cultural tradition, because it was a time of restricted foreign contact. At the same time, Murakami self-consciously uses Western art markets and the popular appeal of Japanese consumer culture to propose the Superflat alternative. That is, Murakami utilizes the Western popular imaginings of Japanese culture as a hyper-consumeristic, postmodern layhouse (Morley & Robins, 1995: 147–173) in constructing Superflat. SUPERFLATNESS: GLOBALIZING STRATEGIES IN ART MARKET As the interaction between social groups has become increasingly globalized, the meaning-making and expressivities associated with ‘art’ have also become progressively more engaged through national and transnational gradients (Papastergiadis & Artspace, 2003). In particular, the formation of identity and expressive modes in a national genealogy becomes problematic within a globalizing cultural sphere.Many artists struggle to find the binary position of balancing East and West cultures , while Takashi Murakami, contemporary Japanese artist, with his theory of Superflat art, worked out his way in this dilemma. He provides a useful case study of the strategies artists can employ to negotiate cultural and artistic identities ‘in between’ this binary. This paper investigates the Superflat concept and analyses Murakami’s art works to expose the tensions and dialogues regarding cultural identity and commodification that are produced by their global circulation.The first section maps Murakami’s strategy in constructing Superflat and contextualizes this in relation to discourses of Japanese national-cultural identity. The second section applies this theorization by analyzing the visual codes of Murakami’s figure sculpture My Lonesome Cowboy. This figure sculpture is part of a series in which Murakami combined the aesthetic codes and markers of otaku culture, particularly the prominence of anime and manga characters, with various art histo rical references.This piece demonstrates the multifarious local/global codes and cultures that Superflat art engages. Global Flows and the Soy Sauce Strategy Globalization creates spaces in which mobile elements interact with both positive and negative effects. Three key issues emerge in contemporary theorizations of globalization that are relevant to this discussion: firstly, the problem of how to retain the concept of local/national cultural particularity and to concurrently recognize the onvergences and overlaps between cultures in a global context (Robertson, 1995); secondly, how to recognize the value in cultural difference as a tool of critical (oppositional) agency (Fisher, 2003) and acknowledge that difference can also become a commodity in the global market place (Hall, 1991); and thirdly, to acknowledge the dominance of Western cultural, political and economic imperatives in globalization (Hardt & Negri, 2000), but also to recognize that it cannot be reduced to this condit ion (Held et al. , 1999).Consequently, concerns and celebrations are generated by the increasing fragmentation of national and cultural identities (Morley&Robins, 1995). In response to this process of deterritorializing identity, impulses arise to reclaim local and national identities in a form of resistance (Hall, 1995). This resistance is complicated because it is formed in relation to the transnational imaginings of the Self and the Other, stimulated by the constant circulation of people and mediated images through globalizations (Appadurai, 1996).These are irresolvable struggles and they demonstrate how globalization contributes to rather than eliminates incommensurability (Ang, 2003). Thus, while cultural identities can become territorialized and demarcated, for instance as ‘Japanese’, they are also challenged by the processes of deterritorialization activated through interaction and exchange. The meaning of ‘Japanese’ is therefore open to re-articulat ion by both global and local forces allowing new strategic identities to emerge.These processes are evident in Murakami’s â€Å"soy sauce strategy†. Murakami demarcates the identity of Superflat as Japanese by proposing it as an affirmation of a Pop Art aesthetic that is â€Å"born from Japan† and distinct from Western art: a type of post-Pop (Murakami, 2005: 152–153). Murakami asserts Superflat as an example of the current influence of Japanese culture globally and as a model for a future aesthetic, thereby identifying the ‘Otherness’ of Superflat in a positive way.Even though Murakami acknowledges that this sensibility emerges from the transformations arising from the influences of Western culture, he simultaneously reaffirms the originality of Superflat as a Japanese sensibility. This is what he refers to as his â€Å"soy sauce† strategy. Japanese contemporary art has a long history of trying to hide the soy sauce. Perhaps they will strengthen the flavor to please the foreign palette, or perhaps they’ll simply throw the soy sauce out the window and unconditionally embrace the tastes of French or Italian cuisine, becoming the Westerners whose model of contemporary art they follow †¦I see the need to create a universal taste – a common tongue – without cheating myself and my Japanese core †¦ I continue to blend seasonings †¦ I may have mixed in the universal forms and presentations of French, Italian, Chinese, or other ethnic cuisines – and I am vigilant in my search for their best points – but the central axis of my creation is stable †¦ at its core, my standard of ‘beauty’ is one cultivated by the Japan that has been my home since my birth in 1962. (Kaikaikiki Co.Ltd & Museum of Contemporary Art Tokyo, 2001: 130) This essential Japanese identity of Superflat is reinforced by the ways in which Murakami connects (visually and ideologically) the kawaii (cute) forms of anime and manga with the playful aesthetic of Edo period artists and the two-dimensional formal properties of Japanese screen painting. This foundation is then used to propose Superflat as an alternate lineage of Japanese visual culture, one that breaks away from the canon of kindai bijutsu and Western art history.Edo functions in Superflat as the determinant of its cultural authenticity – that is, as the DNA of Superflat (Murakami, 2000: 25). Edo is presented as the site of Japan’s cultural tradition and subsequently as a symbol of its Japaneseness. This is a convention from modern Japanese discourses in which Edo becomes the repository of nostalgic yearnings for a pre-modern, traditional Japan (Ivy, 1995).In the late 1980s and early 1990s this was extended to become part of the debates on Japan’s (post)modernity; postmodern cultural expressions in Japan were considered to be a revival of Edo concepts and practices and thus particularly à ¢â‚¬Ëœindigenous’ to Japan (Karatani, 1997). However, as Gluck (1998) points out, the definition of authentic and traditional Japanese expression in relation to a fixed point of origin in Edo culture has been heavily challenged. Therefore, Murakami’s use of Edo to mark the culturally authentic transmission of the Superflat aesthetic should be treated with caution.At the same time, Murakami has emphasized that he is not presenting Superflat as the definitive interpretation of Japanese art nor does he claim a unified identity for Japan: Unfortunately, I can never give ‘Japan’ a fixed shape. I cannot meet my real ‘self’. Nor can I discern what ‘art’ really is †¦ I thought I could solve the problem by lining up a series of images in a powerful procession that words could not clarify. (Murakami, 2000: 9) Even this position can be critiqued.Murakami self-consciously demonstrates his awareness of the historical interaction between J apan and the West and stresses the hybrid history of Superflat. However, he also tends to celebrate Japan’s skill in assimilating and domesticating foreign influences, echoing other discourses on Japan’s hybridity as a national-cultural trait (Tobin, 1992), which paradoxically reconstructs Japan’s hybridity as an essential identity. Murakami’s intention to create an epistemological context for Superflat is explicitly part of his aim to sell work in international art markets: First, gain recognition on site (New York). Furthermore, adjust the flavoring to meet the needs of the venue. 2 With this recognition as my parachute, I will make my landing back in Japan. Slightly adjust the flavorings until they are Japanese. Or perhaps entirely modify the works to meet Japanese tastes. 3 Back overseas, into the fray. This time, I will make a presentation that doesn’t shy away from my true soy sauce nature, but is understandable to my audience. (Kaikaikiki Co . Ltd & Museum of Contemporary Art Tokyo, 2001:131)The impulse in Superflat towards the affirmation of a national-cultural aesthetic can be considered as a form of self-Orientalism: an identity formation that is constructed in relation to the Western Oriental gaze (Said, 1995). While self-Orientalism has been considered (although not specifically in relation to Superflat) as an empowered strategy, because it appropriates the West’s gaze of Japan and re-packages it for the same audience (Mitchell, 2000), others have considered it collusive to Orientalism and a continuation of the Japan/West binary construction (Iwabuchi, 1994).This self-Oriental identity is complicated by a number of factors. First, Superflat does echo conventional discursive constructions of a Japan/West binary, which obscures the connections and power relations in this structure. In particular, Superflat can also be interpreted as being part of the discourses on Japanese identity, particularly the emergence of nihonjinron and postmodernism post-1970s in relation to Japan’s economic and technological influences (Befu, 2001). There was a tendency in both these strains of discourse to emphasize Japan’s national identity as unique and different from the West and the East.Secondly, while Murakami acknowledges the Western influences on the Superflat aesthetic, his simultaneous transposing of this hybrid identity into a reinforcement of a Japanese identity, characterized by cultural assimilation and hybridization, reinforces a unified national-cultural identity. This identity is supported by the references between Superflat and already existing discursive constructions of Japanese culture as post-modern and the interpretation of the two-dimensional properties of Japanese art, which will be discussed later in the paper.Thirdly, Superflat is also part of ongoing trade relations and cross-fertilizations of visual culture forms between Japan and the West particularly since the late nineteenth century. These include the adoption of bijutsu in the Meiji period, the popular consumption of Japanese visual culture in the West (in late nineteenth century Japonisme and since the 1990s with the consumption of anime and manga), and the post-1945 influx of commercial culture from the United States and its subsequent impact on the development of the anime and manga industries (Kinsella, 2000).In some ways, the self-Orientalism of Superflat can be interpreted as a post-colonial defensive reaction. Superflat is presented by Murakami as a localized expression of cultural uniqueness resisting the global hegemony of Western art and transcending the imported colonialist history of bijutsu by presenting â€Å"icons of excessive otherness† (Matsui, 2001: 48). This resistance, in turn, strategically uses identity as a commodity in Western art markets.By explicitly emphasizing the differences of Superflat, and Superflat as Japanese, Murakami becomes open to criticism that h e is merely providing a futuristic Orientalist spectacle for Western audiences (Shimada, 2002: 188–189). Furthermore, the ever-present danger with this position is that the centrality of the United States and Europe is re-asserted rather than challenged. Murakami explicitly reinforces this centrality through his statements regarding the importance of his profile in New York, London and Paris (Kelmachter, 2002: 76).Murakami’s strategy of merging artistic expression and the commercial imperatives of Orientalism also echoes the export art of the late nineteenth century in which new works were created for foreign markets, according to the dictates of those markets (Conant, 1991: 82–84). Export objects were deliberately constructed to appeal to the taste for Japonisme that was fashionable in Europe and the United States at the time. Murakami’s affirmation of Superflat as a Japanese-made model for the future also reiterates the recent rhetoric on Japan’s global cultural power in relation to the export of anime and manga (McGray, 2002).These discourses emphasize the symbolic (and subsequent economic) capital of the Japaneseness of anime and manga texts and they deliberately emphasize the commodity potentials of self- Orientalism. Murakami draws attention to these politics in the Superflat exhibition Coloriage (Coloring) at the Foundation Cartier by referring to it as â€Å"post-Japonisme† (Kelmachter, 2002: 103–104), thereby both connecting with the past market in Japanese art and suggesting a new contemporary context for the consumption of Superflat art.However, to reduce Superflat to a collusive Orientalism, or to see it as just a commodification of identity in a pejorative sense, misinterprets the dynamics in play. Murakami is both proffering resistance as well as marketing his work strategically. Firstly, Murakami articulates his identity through the exhibition structures of the West as well as through conventional signifiers of Japanese aesthetics in order to establish his profile and to sell his work.Yet he also acknowledges the ambivalences of his own position and the playfulness of this global soy sauce flavoring: In the worldview that holds delicate flavoring as the only concept of ‘beauty’ with any value, heavy flavouring is taboo, and too much stimulation is definitely problematic†¦ In order to create something that is understandable both to the West and Japan, what is needed is an ambivalent flavor and presentation †¦ . (Kaikaikiki Co. Ltd & Museum of Contemporary Art Tokyo, 2001: 131)Furthermore, dominant scholarly arguments on the popular consumption of anime and manga outside Japan hold that these forms express plural cultural identities and, as Allison (2000) shows, are detached from specific representations of space and place. This suggests that the consumption of Superflat, like that of anime and manga, is not simply based on a desire for reflected images of Japaneseness as a cultural Other; rather, it offers audiences a flexibility of alternate identities, free from specific geo-cultural connections.It can also be argued that a critical factor in the reception of Murakami’s works in the United States and Europe has been the familiarity of the Superflat aesthetic to anime and manga as part of a common rather than Orientalised visual vocabulary. Superflat echoes the paradox of affirming the non-nationality of texts, while also presenting them as expressions of national-cultural identity. However, there is another way to explain this contradiction of Superflat between the affirmation of non-national and specific cultural identities.The critical theorist Yoda Tomiko (2000) presents contemporary anime forms as a useful example of a coterminous fluidity between local codes that are interchangeable and coexistent with non-local elements. Elements in the text can be swapped around and adapted for different audiences, and these elemen ts are simultaneously collated with non-specific elements drawn from a wide variety of sources; therefore, the overall form remains transportable as well as expressing cultural proximity.While this process of adaptation is not new, what Yoda indicates is that it is increasingly becoming a normative process within the logic of postmodern consumer society. The local identity expressed in Superflat utilizes the connections with Edo and anime and manga culture to articulate its cultural specificity and yet it also expresses a postmodern fluidity and self-reflexivity that enables it to be globally circulated. The following section demonstrates the multifarious local/global codes and cultures in Murakami’s figure sculpture My Lonesome Cowboy. Superflat IdentityTakashi Murakami may have been the happiest at Sotheby’s Auction on May 14th. My Lonesome Cowboy, his larger-than-life sculpture of a boy waving an ejaculate lasso, brought in $15. 2 million — quintupling the ar tist's previous record at auction. Just like what Alexandra Munro has written, â€Å"Murakami does not merely appropriate the manga and anime based worlds of otaku subculture; he operates within them. His lushly bright, mutant characters, all of which have names, act coveted by convenience store consumers as much as they are sought after by international art community. Murakami’s works always act in the multiple spaces in and between Japan and the West, referencing there intertwined relations. My Lonesome Cowboy can be linked to a number of familiar aesthetic forms from both Western and Japanese art history, thus it is a field of knowledge operating both within and between the social, cultural and aesthetic conditions of East and West. My Lonesome Cowboy is characterized by a large lasso of ejaculate reminiscent of Jackson Pollock’s splash paintings in the late 1940s.The confident masturbatory pose of the figure can be interpreted as a parodic and sexualized reference to the phallo-centric ideology of Western Modernism, in which the autonomy and expressive subjectivity (as well as the masculinity) of artists such as Pollock was celebrated. The title itself, My Lonesome Cowboy, also references the heroism and romanticism of the iconic image of the cowboy, which was celebrated in relation to the New York Abstract Expressionist painters, and was parodied in the homo-erotica of Andy Warhol’s film Lonesome Cowboys (1969).The stream of ejaculation fluid is both an exaggerated and grotesque parody of otaku (hard-core anime and manga fans) imaginings and masturbatory activities and a parody of the ‘unique’ stroke of the brush of the artist. The overt and ironic decorativeness of the fiberglass splash subverts the modernist ideology of the unique mark of the artist’s hand as an expression of interior subjectivity in a manner that is reminiscent of Roy Lichtenstein’s series of screen-prints, Brushstrokes, created in the m id to late 1960s.These references are then combined with recognizable Japanese aesthetic markers. For example, the Dragon Ball Z character Goku is the model for the head of the cowboy; the splash of ejaculate is also reminiscent of the static dynamism of Hokusai’s ukiyo-e print View of Mount Fuji through High Waves off Kanagawa (ca. 1829–1833). The standing pose of the figure with the power and energy concentrated in the hips thrust forward, accentuated by the expulsion of liquid from the penis, is something that has also been specifically linked to the style of character pose developed in anime (Kaikaikiki Co.Ltd & Museum of Contemporary Art Tokyo, 2001: 96). This is contrasted to the Western comic hero pose in which the concentration of power and muscular strength is emphasized in the pectoral muscles (96). The sense of dynamism between stasis and movement in My Lonesome Cowboy can also be linked to various forms of compositional structures in Japanese screen-paintin gs and anime. One of the key features of early Japanese television animation is an aesthetic based on the frozen pose, in which a figure can leap in the air and freeze the pose, unfixed from gravity.Part of the rationality behind the frozen moment in animation was a response to budget constraints and efficient production processes; by freezing the frame and allowing the dialogue to continue fewer frames of animated movement were needed for the narrative (Lamarre, 2002: 335). As a stylistic tendency, the technique of freezing the action in animation relies on selecting the most dramatic or aesthetic moment to freeze, creating a dramatic pause before the action (2002: 335–336).Therefore, what is evident is that Murakami simultaneously articulates Japanese and Western aesthetic markers in My Lonesome Cowboy. While these references can be individually demarcated and identified, there is also an interchangeable flexibility that is addressed. More specifically, what this means is t hat the splash of semen can simultaneously reference Pollock, Lichtenstein, Hokusai and Kanada. Thus, it becomes a fluid and slippery signifier. This can be explained as one of the reasons for the global prominence and popularity of Superflat and Murakami.Furthermore, the art historical and popular cultural references would be considered relatively conventional markers for audiences conversant with these texts. Many of the Japanese works in the Superflat catalogue are held in Western collections, including Hokusai’s Great Wave. Murakami’s works are therefore characterized by a particular inter-determinacy, which enables him to manipulate the Japanese identity of the works while also utilizing the familiarity of the visual references for Western audiences. This trategy is further complicated by the overlapping historical aesthetic relationship between Japan and the West. First, the concept of Superflatness, as an aesthetic of two-dimensionality, reinforces the Western i mage of Japan as a culture of surface. The development of the flat surface, which has been interpreted by Clement Greenberg as the underpinning aesthetic realization of Western modern painting, was influenced by Japanese art, particularly ukiyo-e prints, in the nineteenth century (Evett, 1982: ix–x).In particular, an aesthetic of two-dimensionality was identified as a distinctive feature of Japanese art in late nineteenth century Europe (1982: 30). 13 In contrast to the Western discursive construct of Japanese art as inherently two-dimensional, Western practices of linear perspective by this time had already influenced Japanese art. 14 Secondly, because anime and manga are increasingly familiar to consumers outside of Japan, particularly since their export in the 1990s, they have become part of the database of visual aesthetics of artists and fans outside of Japan (Craig, 2000: 7).The complex visual cultural relationships between Japan, United States and European art are more politically intertwined than these explicit and obvious references imply because they are influenced by ideologies and constructions of national identity. The image of Japan as a culture of surface continued into the twentieth century and was translated from the mid-1980s into the confirmation of Japan’s post modernity: Japan as a culture of surface was now celebrated (Barthes, 1982; Field, 1997) and it was constructed (arguably) as the epitome of post-modernity (Miyoshi and Harootunian). 5 This was contrasted to Western modernist discourse of the surface as a manifestation of interior subjectivity. Postmodernism presented a challenge to this concept of originality and interior/exterior distinctions through theories of simulacrum, pastiche and the collapsing of surface/depth models as developed by Baudrillard (1983), Jameson (1991), and Virilio (1991). Even the discourses that emphasized Japan’s creative skill in domesticating foreign imports (Tobin, 1992) as a contra st to the earlier pejorative concept of mimicry reinforced the image of Japan as an appropriator of different styles or surfaces.While the distinction between surface and depth is not absent in Japan, the duality between surface and depth in Western modern epistemology (and even in subsequent discourses that challenge it) is not necessarily expressed using those dichotomous terms in Japanese culture; rather, the surface is considered to be meaningful and creative. For example, the art historian Tsuji Nobuo (2002: 18) identifies the decorative surface as providing a link between the ordinary and everyday sphere and the extraordinary metaphysical realm.In this way, the decorative surface does not ‘lack’ meaning but is active as an intermediary expression and aesthetic. Hendry (1993) also identifies the importance of ‘wrapping’ in Japanese culture, in which the external layers, whether they be clothing, architecture or gifts, form the critical meaning structur e. Wrapping operates as a method of accumulating ‘layers of meaning’ that are not normally present in the unwrapped object (1993: 17). This process inverts the Western philosophical privileging of the core (the object inside the wrapping) as the primary site of meaning and the external wrapping as obscuring the object.In fact Hendry argues that the meaning of the enclosed object and the layers of wrapping are conceptually embedded in each other and cannot be separated (1993: 17). While flatness and the emphasis on surface quality and decoration in Superflat art can thus be considered an exploitation of the Western construct of Japan as a culture of surface aesthetics, it can also be interpreted as an assertion of the creative value of the surface in Japanese culture. In this latter interpretation Superflatness becomes a unique aesthetic form that articulates multiple and active spaces, not the erasure or reduction of meaning.The concept of active flatness and continual transformation is a useful approach to understanding the Superflat aesthetic. It is difficult to differentiate a singular point of origin or a stable and unified subject in the multiple cultural identities embedded in My Lonesome Cowboy. Such is the shared history and cross-fertilization of aesthetic forms that these multiple layers of references and aesthetic histories of Japan and the United States/Europe present a significant complexity to the explicit identification of these references as Japanese or Western.Furthermore, to presume that they will even be decoded as signifying geo-cultural aesthetic territories is equally problematic. It is evident that Murakami’s explicitly playful references act as heterogeneous and malleable signifiers of identity, and thus can be readily interpreted as a postmodern expression of multiplicity. Furthermore, the inter-textual references to Japanese art history, Western art history, and imagined constructions of Japanese identity, play to the knowingness of audiences. The Westernization of Superflat and its Japaneseness articulate two forms that can be accessed by Murakami from his database of codes.

The Dimension Table For Crime - 1966 Words

I) DATA CUBE Consider a data warehouse containing data pertaining to crimes. It has three dimensions – Location, Crime and Time, and 3 measures – Number of Crimes, Cost of Investigation, and Duration of Investigation. The dimension table for Crime comprises of concepts such as Crime Type (eg, Theft, Assault, Arson) and Assigned Agency (eg, FBI, DEA, CBP, Coast guard, State Patrol, etc.). The dimension table for Location contains concepts such as city, state and country. Similarly, the dimension table for Time contains concepts such as year, month, week, date and hour. PROBLEMS: 1) (5 points) Consider that the above data warehouse has to be modeled as a data cube over the three dimensions. Assuming no concept hierarchy (i.e., each dimension†¦show more content†¦Show enough details about how you getThere are 4 levels of concept hierarchy There are 4 levels of concept hierarchy There are 6 levels of concept hierarchy *(4+1)*(5+1) = 4*4*6 = 96 for the above data warehouse. Note: in this question, there is no need to perform normalization on dimension table Time. [Hint: You are free to add any valid and relevant attributes to the dimension tables whileConsidering the concept hierarchies shown in Figure 1, calculate the total number of cuboids in the data cube (including the base and apex cuboids). Show enough details about how you getfor the above data warehouse. Note: in this question, there is no[Hint: You are free to add any valid and relevant attributes to the dimension tables while4) (10 points) Now you need to add another fact table, in which the dimensions are the measures are Number of Crimes Assigned dimension table for Officer contains concepts such as the police officers. Considering both new and existing fact and dimension tables, draw constellation schema for the data warehouse. 5) (10 points) Consider the concept hierarchy provided in Figure 1. Suppose we are provided data containing 1000 crime records which measures 25 crime types assigned to 10 different agencies across 40 cities among 20 states