Vaccinations Should Be Mandatory For All Children

Recently, many diseases that had been eradicated because of childhood vaccinations have been making an appearance. Health officials are concerned that diseases will spread and lives will be lost. Officials all agree that vaccinations will benefit the population. Some parents feel it is an infringement on the right to keep the children healthy and safe. Vaccinations should be mandatory for all children because it will prevent diseases from spreading, protect future generations, and save children and parents time and money. Childhood vaccinations have not been a topic of controversy until recent times. Due to the recent outbreaks of diseases that were thought to be eliminated, people are now investigating vaccinations. State representatives and Congressional people have even gotten on the bandwagon to emphasize the importance of vaccinations. Many states already require children to be vaccinated before entering school, but states allow religious, medical, or personal exemptions. Gettin g rid of these exemptions would be beneficial to not only parents and children, but also to members of society. Having children vaccinated at a young age when the immune system can respond correctly to vaccines will benefit the future health of children. Children are more at danger at a younger age to catch infectious diseases. Vaccines are a safe way to prevent the child from getting sick. â€Å"Proponents say that vaccination is safe and one of the greatest health developments of the 20th century†Show MoreRelatedEssay Vaccinations Should Be Mandatory For All Children1534 Words   |  7 Pagesunderstand why I needed shots. All I knew was this sharp thing was going to be stuck in my arm and it was going to hurt. Before I got my four year old shots I received my first set of vaccines, vaccines that people are now claiming are dangerous. Research shows that vaccination rates fell. MMR (mumps, measles, and rubella) vaccine rates dropped from 93.5% to 90.6%, tetanus, whooping c ough and diphtheria rates dropped from 87.2% to 85.4% in 2009. (Kluger) Why are vaccination rates dropping so significantlyRead MoreShould Vaccination Of All Children Be Made Mandatory By Law?867 Words   |  4 PagesThis paper will explore â€Å"Should Vaccination of All Children Be Made Mandatory by Law?† This effort deals with the fundamental role of vaccine in our life. To Whom It May Concern, ever since the beginning, over two centuries ago, there have been debates over the morals, integrity, effectiveness, and safety of vaccination and immunization. Today, there is a new law that obligates parents to vaccinate their children in order for them to enroll into a public school, which has started a massive disarrayRead MoreMandatory Vaccination Should Be Mandatory Vaccinations1228 Words   |  5 PagesMandatory vaccinations should be required for all citizens in the U.S. Having mandatory vaccinations will allow for well protected future generations that are susceptible to less health issues. With everyone being vaccinated there will be less occurrences of these diseases and sicknesses allowing future generations a more healthy life with fewer visits to the doctor’s office and hospital. Another reason to have mandatory vaccinations is that these vaccines are safe and approved by trusted medicalRead MorePros And Cons Of Vaccination1665 Words à ‚  |  7 PagesVaccinations, Worth A Shot! Mandated Vaccinations are a huge argument right now because of health and disease issues. There are people on both sides of this argument. Some people are against vaccinating their children because they feel they are being forced to have their child get vaccinated. While some people feel the need that vaccinations are important to protect themselves from any illness or diseases. Vaccinations should be mandatory for all schools and health care purposes. For one, peopleRead MoreMandatory Vaccinations1223 Words   |  5 Pages Mandatory vaccinations in public school in my opinion play a major role in children’s lives. They are safe and effective, they protect others we care about, and will protect our future generations. Throughout the years there have been thousands and thousands of children’s lives lost due to outbreaks of diseases such as polio and the measles causing many deaths among young children. Vaccinations that have become effective over the years, limiting these diseases if not getting rid of them periodRead MoreYes or No to Mandatory Vaccinations Essay832 Words   |  4 PagesYes or No to Mandatory Vaccinations Should vaccinations be mandatory for children entering school? At the present time, all fifty states in the United States require children entering public school to be vaccinated. However, no federal vaccination laws exist (ProCon.org, Children Vaccinations, Did you know?). Many parents hold religious beliefs against vaccination. Forcing such parents to vaccinate their children would violate the First Amendment, which guarantees citizens the right toRead MoreThe Case Of Mandatory Vaccination922 Words   |  4 PagesFriedman. Yet, in the case of mandatory vaccines, agreement on protecting another’s life is not universal; therefore we must further justify a policy of mandatory vaccination. Further justification for mandatory vaccinations is logically discerned by reading John Stuart Mill’s and Arthur Okun’s views on rights. In On Liberty, Mill articulates that the only form of acceptable coercion is through the â€Å"harm principle† or â€Å"other regarding.† This translates as no one can or should want to harm their neighbor;Read MoreMandatory Vaccination, and the High Risk of Vaccine-preventable Disease (VPD) to the Vaccine Refusal.1361 Words   |  6 PagesVaccinations demonstrate the benefits of preventing suffering and death from infectious diseases. According to the Centers for Disease Control and Prevention (CDC), Vaccinations were approved as a number one on the list of the Ten Great Public Health Achievements for the United States from 1900 to 1999. If a critical number of people within a community are vaccinated against a particular illness, the entire group becomes less likely to get the disease. This protection is called communi ty, or herdRead MoreThe Medical Influence Of The American Medical Association1263 Words   |  6 PagesAssociation, has an 80,000 member group ready to lobby for mandatory vaccinations (Mihalovic n.p.). If their influence among legislators is strong enough, they can eventually force parents to vaccinate their children in order to access educational institutions. In history, only three provinces had mandatory requirements for vaccines, Ontario, Manitoba and New Brunswick. Nonetheless, proponents for mandatory vaccination believe that it should be done on a local scale. They believe that the large percentageRead MoreVaccinations : A Problem For Many Parents Essay1192 Words   |  5 Pagestheir children and other children at risk of catching diseases. Parents think that if their children’s classmates are not vaccinated it puts their children in danger, however, that was the main reason their children were vaccinated in the first place. Either way parents should have the right to decide whether to get their children vaccinated. Although, the vaccinations are supposed to protect children from certain diseases, it can actually be a danger itself. The possibility that vaccinations can

Transcendentalism The Light That We Can Not See

Transcendentalism: The Light That We Cannot See â€Å"Transcendentalism [†¦] has primarily much the position of the sun [†¦] We are conscious of it as of a kind of splendid confusion [†¦] But the circle of the moon is as clear and unmistakable, as recurrent and inevitable, as the circle of Euclid on a blackboard† (Chesterton, 24). These words encapsulate the driving rationale of the anti-transcendentalist argument – that although individuals seek transcendentalism, they can never truly realize it, or, to compare with the sun, see it. Rather, they inevitably place attention on the â€Å"moon,† the perspicuous reflection of transcendentalism – that is, individualism – and neglect the responsibilities of society. Emerson institutes the philosophy of transcendentalism in his essay, Nature, teaching that divinity pervades all nature and humanity. Although transcendentalists would offer that man can only better his spiritual life by embra cing individualism, pursuing the ideal, and being one with nature, the ability and appeal of transcendentalism to advance enlightenment upon the soul of the individual rests on the false suppositions that feckless man can achieve perfection and that nature embodies God, thus causing transcendentalism to conversely detriment the spiritual life of the individual, isolating him, prescribing his rebellion, and invigorating his selfish pursuits, simply because he confides his soul in creation instead of the Creator (Tocqueville, 482). The transcendentalistShow MoreRelatedTaking a Look at the Transcendental Movement1455 Words   |  6 Pagesintellectual men of their time and are now the figureheads of transcendentalism. In the simplest terms, to â€Å"transcend† means to rise above and beyond the norms of society ¾ not physically, but mentally. Transcendentalists, such as Emerson and Thoreau, believed that for one to determine the ultimate reality of God, the universe, and the self, one had to transcend everyday human experiences. Ideas that form the basis of transcendentalism are still continuously being used today in popular culture, suchRead MoreSelf-Reliance: Journey through Transcendentalism832 Words   |  4 PagesJourney through Transcendentalism Transcendentalism is the system of philosophy that leads to reality. Although the philosophy is an opinionated subject, there are still universal judgments about it. William Bryant, Henry Thoreau, and Ralph Emerson illustrate the ideas of transcendentalism through their works using rhetorical devices. Thoreau uses paradox to illustrate his belief of individualism in his memoir Walden. In Bryant’s Thanatopsis he describes death through his uses of pathos. EmersonRead MoreTranscendentalism : The American Scholar1658 Words   |  7 PagesThose Americans who have heard of American Transcendentalism associate it with the writers Ralph Waldo Emerson and his friend Henry David Thoreau. Asked to name things about the group they remember, most mention Emerson’s ringing declaration of cultural independence in his â€Å"American Scholar† address at Harvard’s commencement in 1837 and his famous lecture â€Å"Self-Reliance,† in which he declared that â€Å"to be great is to be misunderstood†; Thoreau’s two-year experiment in self-sufficiency at Walden PondRead MoreEssay about Transcendentalism1367 Words   |  6 Pages Transcendentalism was an early philosophical, intellectual, and literary movement that thrived in New England in the nineteenth century. Transcendentalism was a collection of new ideas about literature, religion, and philosophy. It began as a squabble in the Unitarian church when intellectuals began questioning and reacting against many of the church’s orthodoxy ways regarding all of the aforementioned subjects: religion, culture, literature, social reform, and philosophy. They in turn developedRead MoreAnalysis Of Walt Whitman s What Came First The Chicken Or The Egg? 1739 Words   |  7 PagesWaldo Emerson and Walt Whitman a similar question of â€Å"What came first the chicken or the egg?† comes to mind. Scholars may argue that without Emerson and his influential sermons and speeches that Walt Whitman would have never found his voice, but how can someone who so many consider one of the greatest poets of all time cease to exist? Ralph Waldo Emerson knew what he was doing when he published The Poet. It was an outcry for the American people to speak a truthful narrative about the human experienceRead MoreComparing and Contrasting McCandless and Emerson 812 Words   |  3 Pages American transcendentalism was a vital movement in philosophy and literature that grew over time. One person who stood out from american transcendentalism was, Ralph Waldo Emerson. He expressed his ideas and values through one of his works, Nature. There he broadcasted the relationships between God, man, and nature. Someone who would be seen in this movement would be, Chris McCandless as a transcendentalist. The novel,, Into the Wild, shares the decisions Chris made during his nomadic life styleRead MoreThe Scarlet Letter, By Nathaniel Hawthorne Essay1389 Words   |  6 Pageswife, Sophia Peabody, practiced transcendentalism, but he spent a year living and working at Brook Farm in Massachusetts, which was a transcendental community. Influenced by Sophia’s interest in the transcendentalist movement, Hawthorne invested money in an experimental Utopian community. Transcendentalists believe social institutions such as organized religion, society, and political parties destroy th e purity of the individual. Some of these elements of belief can be found throughout Hawthorne’sRead MoreThe Scarlet Letter By Nathaniel Hawthorne1397 Words   |  6 Pageslifestyle as too extreme. Transcendentalism was a philosophical way of thinking for oneself, and not letting the belief of society alter the personal opinion. Transcendentalism correlates with The Scarlet Letter and its characters as they battle society’s set values of what is socially right or wrong. Adultery and which craft are just two of the topics that would not be exceptional to the puritans. Hawthorne came to realization that everyone is human and as humans we make mistakes, we should not punish eachRead MoreThe Fall Of The House Of Usher1651 Words   |  7 PagesMason Eggers Mrs. Szwajkowski Junior English 200 24 March 2016 Romanticism/Transcendentalism Essay Edgar Allen Poe’s â€Å"The Fall of the House of Usher,† Nathaniel Hawthorne’s â€Å"The Minister’s Black Veil,† and William Cullen Bryant’s â€Å"Thanatopsis† illustrate several Romantic and Transcendentalist (and anti-Transcendentalist) traits. All of these authors are regarded as very important and influential Romantic writers. Their works are renowned all across the entire world. â€Å"The Fall of the House of Usher†Read MorePlato s Theory Of Recollection1687 Words   |  7 PagesThe four arguments that are put forward are; the inverse contention or the cyclical contention, this hypothesis tries to clarify that the structures we have are unceasing and can t change and the spirit can never die and it generally brings life. The body is accepted to be mortal and needs to experience the physical demise however the spirit is not crushed simultaneously. Plato tries to make clear of the contention by looking at cold and fire. The second argument is otherwise called the theory of

Does Hip Hop Influence Violent Behavior free essay sample

l got twenty-five dollars on my dresser, and if I give it to my hoe she gone bring back more, a lyric from Cash Money Millionaires by hip-hop star Ill Wayne. Would hearing this lyric encourage someone to become a plump? Hip hop music does not affect Its listeners behavior; It only expresses situations that are already happening. In How Hip-Hop Holds Blacks Back, by John Micrometer, he states By reinforcing the stereotypes that long hindered blacks, and by teaching young blacks that a thuggish adversarial stance is the properly authentic response to a presumptively racist society, rap retards black success.That quote provides a one sided view; in opposition I would argue that hip-hop is a verbal expression of frustrations caused by sub standard living conditions, a racist and unforgiving society, and the obstacles faced by black inner city youths. Hip-hop is one of the most controversial and misjudged forms of music. We will write a custom essay sample on Does Hip Hop Influence Violent Behavior? or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Critics view it as a promoter of violence, drugs, and sex. Critics also suggest that hip-hop lacks the creativity and lyrical substance of other music genres.Although hip-hop mentions violence, drugs, and sex as best stated by Hip-hop Icon T. L. no way should reflection be mistaken for glorification. Hip-hop artist Including T. L. Express their emotions, and draw Blvd pictures of their past lifestyles through their lyrics. Those lyrics about their past lifestyles often highlight substandard living conditions that are to often experienced by blacks In the Inner- cities of America. What if you were living on a fixed income under the poverty level in a crime infested neighborhood?When faced with these adversities, most would implement a plan to get rich as soon as possible. These plans most often include illegal activities, which in no way were influenced by hip-hop. Consequently these individuals who engage in these activities, in turn become our hip-hop icons. Therefore hip-hop is influenced by the black community not vise versa. Blacks comprise thirteen percent of the national population, but thirty percent of people arrested forty-one percent of people in Jail, and forty-nine percent of those In prison.These statistics alone give a numerical representation of the fact that the Justice system Is oppressing to the black population. When a person has a felony record Its harder to obtain a Job, therefore they try and other means to provide for their families. Those convicted felons are now our hip-hop stars who rap about their life experiences and give it such depth that it is meant to detour youth from following that path and encourage them to not let them self fall into the cycle that is destroying the black community. Critics argue that hip-hop encourages youth to become thugs, pimps, killers, and drug dealers. On the contrary, hip-hop exposes to main stream America the fact that there are youth forced to live as those things to survive, in an effort to ensure that the black communities problems are giving the proper attention y Politicians, and the government. Inner city youth face oppositions such as lack Jobs, single parent homes, drug infestation, and an overflow of violence in the streets.These frustrations lead these youth to listen to music that they can relate to, hip-hop artist Mine best described It in hit song Sing for the Moment when he recites Thats why we sing for these kids, who dont have a thing, Except for a dream, and a bucking rap magazine, Who post pin-up pictures on their walls all day long, Idealize through sit in their lives, Till they sit and they cry at night wishing theyd die, Till they hero on a rap record and they sit, and they vibe, Were nothing to you but were the buc king sit in they eyes. Hip-hop is more of an inspiration to young trialed youth than a teacher of rebellion and hate. Inspirational, accurate, and thought provoking are only a few words that can used to identify the positivist of hip-hop. While hip-hop takes a more vulgar approach to the situation, it is also a verbal expression of frustrations caused by sub standard living conditions, a racist and unforgiving society, and the obstacles faced by black inner city youths.

Lebanon War 2006 free essay sample

The Lebanon War of 2006 began on July 12th, when Hezbollah launched a rocket attack on Israeli military positions stationed near the border between Lebanon and Israel. In the minutes during the ensuing chaos, Hezbollah militants crossed the border into Israel, and kidnapped two Israeli soldiers who they intended to use as collateral in a prisoner exchange with Israel. The war lasted until August 13, 2006, at which point the United Nations intervened. During the war, both sides targeted civilian areas, resulting in the deaths of over one thousand civilians and the displacement of thousands more. In an account of the 2006 Lebanese War published by the Anti-Defamation League, Hezbollah militants are accused of launching rockets into Israel with the intention of harming civilians. Conversely, it is explained that the Israeli military targeted Lebanese civilian areas because Hezbollah has been known to operate out and live amongst civilian homes and stores. In addition, it appears that the author of the account places the blame upon Hezbollah for igniting the war against Israel by launching rockets across the border in the years following the departure of Israeli forces from Lebanon, after the Lebanese Civil War and the Israeli siege on Beirut. We will write a custom essay sample on Lebanon War 2006 or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page The ADL reports that there were over twenty occurrences of attacks launched by Hezbollah militants on Israel between 2000 and 2006. The ADL, however, does not conclude its account of the events without addressing errors made by Israel. Many Israelis allegedly held their own government accountable for the destruction of parts of the country, not because the government retaliated against Hezbollah’s attack, but because â€Å"the military and country had been ill-prepared for the conflict and its soldiers ill-equipped† (ADL). Such accusations prompted the Israeli Prime Minister to order a commission of inquiry to address the accusations. In 2007 and 2008, the Winograd Commission announced that questionable decision making had taken place during the war by Israeli government officials. Rasha Salti’s personal account of the 2006 war from the perspective of a citizen living in Beirut makes no mention of Israel’s self-proclaimed guilt, however. Her compilation of notes written during the war instead portray the violent attacks and practical demolition of Lebanon – a country that had only recently managed to rebuild itself after the conclusion of the fifteen year civil war in 1990. Her frustration about the situation and her devastating accounts of civilian casualties during the 2006 war blame only the Israeli military and government because of the brutal force and destruction used against Lebanon. Salti even makes reference to the abduction of the Israeli soldiers, and criticizes the Israeli government for overreacting and launching a war against Lebanon in retaliation. The ADL’s description provides factual data that is not included in Salti’s â€Å"siege notes†, and alternately the â€Å"siege notes† provide a personal account of the war that any reader would be able to relate to and identify with. Despite reporting upon Israel’s Winograd Commission, the ADL clearly maintains the perspective that Hezbollah functions as a terrorist organization and was at fault for the 2006 Lebanon War. Salti, on the other hand, conveys a clear message about Israel’s vicious military and menacing government. The comparison of documents such as the ADL and Salti accounts of the 2006 Lebanon War illuminates the importance of collecting multiple sources of information before drawing conclusions about any historical event. References: http://www.mepc.org/ http://www.google.com

My Future Essays - Finance, Master Of Business Administration

My Future I like options, I like security, and I like power. With these wants, I knew at a very early age that I would enter business and thus I attended a college that specializes in the subject. In my first position out of school, I was hired by Dunhill Equities as a cold-caller. After several weeks of being hung up on by angry prospects, I decided that this career path would not lead me to success. I then moved within the firm to a position as sales assistant. While this was by no means my dream job, I learned a tremendous amount about business, and I gained useful exposure to the world of finance. Unfortunately, the company hit a period of instability, and after ten months I transferred with my boss to Coleman & Company. Thirteen months later, that company also began to fail, and I began to search for another path to advancement. With two strikes against me, I hit a home run and was hired by Sanford Bernstein into a challenging job with limitless opportunity for growth. After almost three years at Bernstein, I am once again seeking career advancement. My education and work experience have provided me with an excellent introduction to business, and they have sparked my interest in finance. Taking into consideration my foundation and my interests, graduate business school is the next logical step. At this point in my life, I consider a Stern MBA to be necessary since I need to gain a broader understanding of finance and to sharpen my analytical skills in order to be successful in corporate finance. Stern' s MBA program will allow me to concentrate in finance, strengthen my global business perspective, and provide me with the opportunity to study with and learn from people with varied backgrounds. The school' s location in the financial capital of the world and in one of the most diverse cities in the world also suits me perfectly. Aside from advancing my career, I would also like to develop personally. In college I did not join many clubs or organizations, and I did not participate in sports. Instead, I spent all my time studying, working, or dealing with family issues. Having been away from home and living in New York City for four years, I feel the need to make a name for myself and to develop a meaningful social life. I want to take advantage of the many benefits that extracurricular activities offer, and I want to be involved in the Stern community. Upon graduation from the Stern School, I will seek a position as an associate within the corporate finance department of a large, Wall Street, investment-banking firm. In three to five years, once I have become adept in financial analyses, drafting prospectuses, preparing business presentations and other financial advisory work, I will move into a senior associate position. Here I will develop my abilities to anticipate client needs and to engineer solutions that address these needs. In approximately 10 years, I will have the experience necessary to take on upper-level management responsibilities. Acceptance Essays

Free Essays on John Mccain

John McCain’s 2000 Presidential Campaign Senator John McCain gave a powerful speech today for the Reagan Republican Party. He proclaimed he was the better candidate. He said â€Å"I will not padlock the Republican Party, and surrender the future of our nation to Speaker Gephardt and President Al Gore. He stood firm in his beliefs and brought strength to conservatives around the nation. He proclaimed that he will restore faith in those who have lost faith in the Republican Party. Evangelical leaders such as Chuck Colson and James Dobson were among praise but Pat Robertson and Jerry Falwell were revengefully attacked within the speech. The speech continued with religious views and tells a short story of how he belongs to a faith that â€Å"unites and never divides.† He wants to restore the people’s trust in the government and their pride in public service. He is â€Å"building a new Republican majority, a majority to serve the values that have long defined our party and made our county great.† He feels that no fear should be bestowed upon him because he will â€Å"honor his obligations to the old and young.† Although he is strongly Republican later in his speech he mentions that he would first cut taxes for those who need it most. He ends his speech with â€Å"Join us, and welcome anyone of good faith to our ranks. We should be- we must be- a party as big as the country we serve.†... Free Essays on John Mccain Free Essays on John Mccain John McCain’s 2000 Presidential Campaign Senator John McCain gave a powerful speech today for the Reagan Republican Party. He proclaimed he was the better candidate. He said â€Å"I will not padlock the Republican Party, and surrender the future of our nation to Speaker Gephardt and President Al Gore. He stood firm in his beliefs and brought strength to conservatives around the nation. He proclaimed that he will restore faith in those who have lost faith in the Republican Party. Evangelical leaders such as Chuck Colson and James Dobson were among praise but Pat Robertson and Jerry Falwell were revengefully attacked within the speech. The speech continued with religious views and tells a short story of how he belongs to a faith that â€Å"unites and never divides.† He wants to restore the people’s trust in the government and their pride in public service. He is â€Å"building a new Republican majority, a majority to serve the values that have long defined our party and made our county great.† He feels that no fear should be bestowed upon him because he will â€Å"honor his obligations to the old and young.† Although he is strongly Republican later in his speech he mentions that he would first cut taxes for those who need it most. He ends his speech with â€Å"Join us, and welcome anyone of good faith to our ranks. We should be- we must be- a party as big as the country we serve.†...

Progressive era through the great depression Assignment

Progressive era through the great depression - Assignment Example Another major turning point was the Depression and the Unemployment that occurred in the late 1920’s after the Great Depression; this period was characterized by extreme economic crises and high rates of unemployment. At this time several factories were shut down and many workers were laid off. Discussion 2 The two historical turning points discussed above led to several economic, social and political facets whose effects are still faced by the current American Society. To begin with, the rise of the social movements specifically the Labor Movements that were propagated by the Muckrakers who exposed the Corruption, poor working conditions and lack of respect to human rights that were experienced at working places. In this respect, various groups of activist were forced to take several actions geared to towards opposing the poor working conditions and the corruption at the work places. ... ded with proper remunerations and proper working conditions; such labor laws are currently still practiced to promote proper working conditions and promote proper employee-employer relationships. The Second pertinent turning point in the history of the American Society in the progressive era through the Great depression was the unemployment and the depression that led to an extreme economic crises featured by closing of factories, over-production and high levels of unemployment. This also occurred in the early to the late 1920’s; the crash of the stock market in 1929 in the USA which caused a drastic reduction in economic growth of the nation; workers and farmers were also faced with conditions of low income. Several organizations such as the Robert La Follett’s and the Wisconsin made various attempts to formulate strategies to enable the society to enable the society to cope up with the deteriorating economy; however, their efforts were fruitless (Wisconsin University 2008). In the Mid 1930’s the then United States’ President Roosevelt formulated the New Deal policy and the unemployment bill that was developed by the Harold Groves as an economic model succeeded in improving the economic status. These models together with the current economic models have facilitated the relative stability in the current economic status in the American Society. Discussion 3 The late 1980’s through the 1920’s saw the rise of several women empowerment movements and social groups for instance: The Women Suffrage Movement, Women and Peace Movement, Legacy of Women in the Progressive and the Status of Women. All these groups were focused towards empowering women; the American Society during the progressive era was characterized by the perception that women were the Moral Guardian

Astronomy Essay Example | Topics and Well Written Essays - 500 words - 7

Astronomy - Essay Example Agnostic individuals do not believe a higher power created the universe. The Big Bang Theory is given as evidence that the Earth and surrounding galaxies were created due to pure science. Hydrogen and helium combined to enact an explosion that after of billions of years created Earth and intelligent life. The agnostic individual also believes that this is Earth’s springtime, when considered in terms of seasons. Everything eventually dies, including the Earth and Sun. It might take billions of years, but the universe will keep dying and renewing at only a predictable rate. Agnostics believe in science due to the provability. The do not believe in a higher power due to lack of proof. Atheists believe no higher power exists. The universe was the results of trivial consequence of cosmic evolution. The stars, moon, planets, and so forth were all created by accident. Human evolution is also considered a lucky fluke by Atheists. No omniscient being could have created the Earth, because the scientific proof shows otherwise. Unlike the agnostic that does not believe because lack of evidence, Atheists believes no higher power ever existed. The astronomy findings and other science are often touted as proof of their beliefs. Intelligent Design is the new compromise that Christians, Islam, Judaism, and even Eastern religions have made about a higher power creating the universe. Basically an Intelligent Design example is of building blocks. When an individual take building blocks with the alphabet or numbers and throw them on the floor, rarely if any design can be determined. The universe is too complex for it to have left to chance. Evolution, according to Intelligent Design, would never occur without being manipulated by a higher power. Christians, Muslims, and Jews believe that God created the universe in six days. Adam and Eve mentioned in these religious texts. These individuals will not even consider astronomy due to the conflict with their belief. Religious

Nike strategic fit Essay Example | Topics and Well Written Essays - 500 words

Nike strategic fit - Essay Example Nike aspires to serve the human potential through sports - as the company states, "We feel lucky to have a genuine, altruistic reason to be: the service of human potential. That's the great benefit of sports, and we're glad to be in the middle of it."2 Kotler (1974) states that, 'an individual's beliefs or conceptions about what is desirable, good or bad - forms the value system.' In today's competitive environment such a value system plays a crucial role not only in satisfying customer needs but in taking on the competition as well. A company can acquire competitive advantage on its rivals on account of marketing efforts, brand building, value creation, innovation, operational efficiencies etc. but more important is to sustain the leading edge. Value creation forms the core component for sustaining the competitive advantage. Mele and Colurci (2006) provide distinctive paradigms for value as such.

Neo Realism Of Pather Panchali Film Studies Essay

Neo Realism Of Pather Panchali Film Studies Essay The Bengali feature film Pather Panchali or Song of The Road in English was directed by Satyajit Ray and released in 1955. It was considered a landmark in the field of Indian as well as world cinema. Although it was director Rays debut effort it went on to win critical and popular acclaim from all around the world. The path breaking movie was also instrumental in winning the Best Human Document award at the Cannes Film Festival of 1956. Satyajit Ray had his first truck with neo-realism as far back as 1949, when Jean Renoir the famous director from France came to Calcutta to make the film The River. The neo-realistic influence that is apparent in most of his movies came from this association with the famed movie maker as also from the neo-realistic propensities of the then prevailing Italian cinema (Ruberto. L, Wilson. E Kristi. M 2007). Ray happened to take the famous director to various potential locations in the Bengal countryside. Later he went to London on official business. During the short time he was in London, Ray saw myriads of movies and seeing the film Bicycle Thieves made so profound an impression on him that he decided to be a movie maker, then and there (Robinson, 2003). Pather Panchali is considered to be neo-realist in its implications. The main reason for describing the movie as neo-realistic was the fact that it was filmed not long after the II World War when neo-realism held sway in most of Europe. What made the critics tack the label of neo-realism to Rays movie? Ray chose mostly natural locations while shooting Pather Panchali. He wanted the backdrop of each shot to speak for itself. Also, he totally refrained from the artificially exaggerated practices and gestures of the popular cinema prevailing in India. The movie is said to have amply demonstrated some affiliations with the traditions narration, representation as well as musical address prevailing in earlier times in an effort to articulate in an Indian identity of the day following independence (Vasudevan, 2000). In an attempt to dissociate himself and his creations from the commercial movies emanating from Bollywood, Satyajit Ray stated, The differences appear to emerge from evaluating the status of the narrative form through which the real would be articulated, through what means of representation, styles of acting, aesthetic strategies the real would be invoked. Here the popular compendium studio shooting, melodramatic, externalized forms for the representation of character psychol ogy, non- or intermittently continuous forms of cutting, diversionary story lines, performance sequences was not acceptable within the emergent artistic canon, for they undermined plausibility and a desirable regime of verisimilitude (Ray, 1976). Pather Panchali possessed all the essential characteristics of neo-realism as proposed by the great Italian movie maker Zabattini. The neo-realistic theory lays down the dictum that the filmmaker should not ever impose his own individual interpretation on the movie that he is making and should always remain a passive observer of the reality that he happens to be creating. It does not matter whether he is depicting misery or prosperity, the movie maker should always uphold the utmost objectivity, by subordinating logic to action at all times. Although, even the staunchest of the neo-realists were utterly unable to attain such total objectivity for the simple reason that the subjective element always had a tendency to creep into any artistic creation, they never stopped from trying to achieve it. The same thing holds true for Satyajit Ray when he made his debut film Pather Panchali. In fact Ray was virtually unable to keep the subjective element out of his movie. But he never made comments on his actions, characters or situations. He never pitches hints at his audience and never tells them just what to think and feel. At the same time he was not at all apprehensive about taking the appropriate stances. This is because he was predisposed not to his characters but to the drama of life itself. He had his own ways to suffuse life on to the screen in order to impart a shimmer of hope to all his characters. Pather Panchali and Bollywood movies : A contrast Bollywood movies are a far cry from the realism and objectivity of Rays movies When comparing and contrasting a Satyajit Ray movie to any Bollywood movie, there is nothing much to compare but there is a lot to contrast. The only factor a movie like Pather Panchali has in common with a Bollywood movie is that both are shot in India and is about life in India. The similarity ends there. While Rays movies are predominantly realistic, there is nothing even remotely realistic about Bollywood films. To make matters worse, Satyajit Rays art films received their due recognition from the cognoscenti and welcomed with open hands within the ambit of world cinema. Evidently, Rays movies were in stark contrast to the populist fare dished out to the masses. This further discouraged any scholarly discussion of Bollywood movies within cinematic and media study circles. Madhava Prasad (2003) a film scholar wonders about the significance of the term Bollywood (2003). It might be that being imitative Bollywood cinema needs to be rechristened to emphasize this derivativeness. In another context, Gokulsingh et al states that whereas Hollywood filmmakers strove to conceal the constructed nature of their work so that the realistic narrative was wholly dominant, Indian filmmakers made no attempt to conceal the fact that what was shown on the screen was a creation, an illusion, a fiction. Genre While movies like Pather Panchali comes under the genre of art cinema or parallel cinema, Bollywood movies come under the genre of Masala meaning a mixture of hot spices. The main characteristic of the Masala genre is the song and dance sequences, a critical factor in defining the particular genre. But audiences that invest social realism into cinema find it difficult to accept the genre as they are extraneous constructions of the real (Dudrah, 2002). It might be interesting to note that the term Bollywood does not signify Indian cinema as a whole but is confined to those movies emanating from Mumbai, the erstwhile Bombay (Corliss, 1996). Budget Any film begins with a budget which in turn necessitates financial backing. Another factor that delineates Pather Panchali and Bollywood movies is the matter of budgeting. Pather Panchali was shot with the meager budget of $3000 while Bollywood spends incredible amounts to make musical extravaganzas. Even a single dance scene from a Bollywood movie costs tens of thousands of dollars. Satyajit Ray could not afford even what to a Bollywood producer is an insignificant sum. The government of Rays home state contributed the lions share of the production costs of Pather Panchali. This never happens with Bollywood films. Film distributors around India are standing ready to advance princely amounts of cash to a masala movie emanating from Bolllywood. Monroe Wheeler, the then head of the prestigious Museum of Modern Art was greatly impressed with high levels of quality prevalent in Pather Panchali although what he saw at the time of his visit to Calcutta in 1954 was an incomplete footage. La ter Wheeler asked John Huston, the American movie director who was on a visit to Calcutta to look into the progress Rays debut movie. At Hustons favorable feedback, the Museum of Modern Art provided Ray with additional funds. Still three years had elapsed before the movie went into post-production (Mehta, 1998). Screenplay The screenplay for Pather Panchali was based on the Bengali novel of the same title by the popular novelist Bibhutibhushan Bandopadhyay. The novel was about the simple lives of people inhabiting the Bengal countryside of the period. Such a theme is generally anathema to Bollywood directors. Again, the scripts of Bollywood movies tend to be involved, complicated and resemble the pieces of a jigsaw puzzle that somehow come together at the very end. In contrast Pather Panchali did not have even a whole script (Robinson, 2003) as it was solely based on Rays notes and drawings. His theme was simple enough with seemingly random sequences of trivial as well as significant sequences pieced together, a practice that is foreign to the mindset of Bollywood movie directors. Rather than dishing out a fare to assist the moviegoers to escape from the harsh realities of life even it is for a few hours as is the case with Bollywood movies, Ray wanted the script à ¢Ã¢â€š ¬Ã‚ ¦to retain some of the ra mbling quality of the novel because that in itself contained a clue to the feel of authenticity: life in a poor Bengali village does ramble (Ray, 1976). Quite unlike a Satyajit Ray movie, a bollywood film is replete with a plot that is extremely melodramatic in its connotations. Most of such movies follow a regular formula with ingredients that is often mindblogging to a serious movie goer. Such formulae is replete with love triangles, family ties, irate parents, corrupt politicians, conniving villains, kidnappers, golden hearted prostitutes, siblings long lost, sudden reversals of fortune, impossible coincidences and what not. Musical score The musical score consisting of Pather Panchali was prepared by the sitar maestro Ravi Shankar who at that time was at the initial stage of his musical development (Lavezzoli 2006). The background score, in the best tradition of Indian classical music, was something that was truly plaintive and exhilarating (Hoberman, 1995). A sound track that was based on the ragas of classical music and did not contain any songs to portray dance sequences was singularly at variance with the inane capers of Bollywood and something that was happening for the first time in the annals of Indian cinema. A Bollywood movie is an epitome of mediocrity with nothing to relate it with life as lived in India. The main emphasis is on musicals consisting of catchy tunes and words accompanied by a series of song-and-dance sequences. Even the theatricl trailers made to promote a movie have their emphasis on song and dance scenes The standard of a movie is based on mainly on the quality of the songs it features. In fact one major factor of movie promotion with Indian commercial movies in general is to release the songs that a movie contains far ahead of its release. A Satyajit Ray movie appeals to the filmgoer for the aesethetic sense it imparts. To see Pather Panchali was to have what MSN Carta defined as a cerebral experience (MSN Encarta).To understand such films the audience should have a sound notion of what a true movie should be as also expect them to be of a high standard. But it is not at all so in the case of Bollywood movies. Plagiarism in Bollywood Movies Bollywood script writers and music composers have a tendency to plagiarize from western sources and from Bengali and Malayalam movies of India which are of a comparatively high standard. Plot lines, ideas, tunes as well as riffs are fair game for Bollywood (Ayres Oldenburg, 2005). In the past Bollywood could get away with impunity as the movies were largely unknown to non-Indian viewers with the result that none had the faintest notion that ones materials was beeing plagiarized (Dudrah, 2002). Well known Bollywood Director Vikram Bhatt put it succinctly when he remarked Financially, I would be more secure knowing that a particular piece of work has already done well at the box office. Copying is endemic everywhere in India. Our TV shows are adaptations of American programmes. We want their films, their cars, their planes, their diet cokes and also their attitude. The American way of life is creeping into our culture. and also If you hide the source, youre a genius. Theres no such th ing as originality in the creative sphere. However some copyright violations were indeed resulted in litigation. For instance the Bollywood movies Zinda in 2005 and Partner in 2007 were taken to court for having plagiarized from the Hollywood movies Oldboy and Hitch respectively. Accolades Another point to note is that Rays films remains an important part of world cinema and he has received more accolade than any other Indian moviemaker. Noted critic Basil Wright made this comment after viewing Pather Panchali for the first time: I have never forgotten the private projection room at the British Film Institute during which I experienced the shock of recognition and excitement when, unexpectedly, one is suddenly exposed to a new and incontrovertible work of art (Chapman, 2003). For instance the noted film critic Constantine Santas opined that Ray developed a distinctive style of film-making (Santas, 2002). Moti Gokulsing and Wimal Dissanayake stated that the basis of Rays works is comprised of strong humanism and visual lyricism (Gokulsing Dissanayake, 2004). Roy had the singular honor of establishing himself as an auteur of cinema with his very first movie (Santas 2002). In contrast no Bollywood film has ever won an international award, won any critical claim or even special mention from anywhere in the world except in those pulp magazines singing paeans to the movie moguls of Bollywood and their mediocre creations; this in spite of the fact that Bollywood churns out more movies per annum than any other country in the world. Although Bollywood movies are immensely popular with India and Indians living abroad, many South Asians eye them with derision labeling them as maudlin and unrealistic. To quote Edward Johnsons aside as he was commenting on the film posters of Bollywood movies, Indian cinema has a reputation in the West founded more on myth than reality. Art directors such as Satyajit Ray are given fulsome praise whilst the majority of commercial cinema receives nothing but ridicule and the entire industry is pilloried as specious drossà ¢Ã¢â€š ¬Ã‚ ¦(Johnson, 1987:2). Even scholarship in India which, at times, was dismissive of popular films as Technicolor fantasies catering to the masses. To them Bollywood movies were characterized by dance and music, melodramatic content, lavish production procedures and over emphasis on spectacles and stars. And this is why Bollywood films have attained box-office success and raving audiences within India as also globally and not because of aesthetic excellence or on any grounds of merit. . The evolution of Bollywood Cinema with its constant interruptions of dance and song sequences is cited as a critical feature distinguishing it from other cinemas (Gopalan 2002); it is often also cited as an impediment to serious cinema as well Bollywood apologists complain that their movies are evaluated in the glum shadow of European cinematic forms, epistemologies and aesthetics and that in the confines of these rubrics Bollywood movies become poor imitations of art, exhibiting a total lack of realism of any sort and so remain shallow spectacles of fanatastic settings and music. Conclusion In the latter half of the 20th century filmmakers as well as screen writers of a serious mien became frustrated with the then prevailing musical movies. They wanted to reverse this trend and take the Indian movie to a higher and saner realm. They wanted to develop an altogether new genre of movies that portrayed reality from an aesthetic perspective (Roy, 2008) and not mediocre escapist fare. The pioneering efforts of Satyajit Roy gave birth to a number of highly aesthetic and unforgettable movies from avant garde directors like Mrinal Sen, Adoor Gopalakrishnan, Shyam Benegal and Girish Kasaravalli. And while it lasted no good thing lasts for long it was a real relief from the artifice universally distributed from the gaudy sets of Bollywood.

Affirmative Action Essay -- Politics, Public Policy

According to Newman, affirmative action is a â€Å"program designed to seek out members of minority groups for positions from which they had previously been excluded, thereby seeking to overcome some institutional racism† (Newman, 536). Affirmative action made its debut with a piece of legislature passed by President Lyndon Johnson in 1964 and continues to this day. However, the concept of affirmative action is a controversial issue that continues to be hotly debated. Affirmative action policies are passionately debated by everyone from educators and politicians to ordinary citizens, all who hold differing opinions on both the necessity and validity of the policies. There is no doubt affirmative action is an emotional topic and deals with the sensitive subjective of race, therefore people’s reactions to it are going to be strongly influenced by their own race and person experiences. One group who may support affirmative action are educators. Especially, those who work with poorer minority students and see the obstacles they have to overcome in order to finally get ahead and attend college, unlike their parents. To these educators affirmative action may be seen as a sign of hope for bright, determined minorities. Politicians too may support affirmative action if it is in their political interest to do so. If a politician is running for office in an area with a large minority population that is not well off they would likely support affirmati ve action to gain the votes of the citizens. However, if a politician represented an area that is for the most part racist and unwilling to give opportunities to minorities, politicians will probably reject the idea of affirmative action. In the case of politicians it seems likely their decisions wo... ...uch as â€Å"socioeconomic status, first-generation college status, geographic residency,† or the hardships students have overcome (â€Å"UD.gov†). These factors while not race based would likely ensure a fair amount of minorities were represented. Until institutions and organizations in the United States can choose applicants without bias and minorities have overcome the socioeconomic disadvantages they face, it will be necessary to maintain some form of forced equality, which is what affirmative action provides. Works Cited "GUIDANCE ON THE VOLUNTARY USE OF RACE TO ACHIEVE DIVERSITY IN POSTSECONDARY EDUCATION." UD.gov. U.S. Department of Education, 02 Dec 2011. Web. . Newman, David M. Sociology: Exploring the Architecture of Everyday Life. 8 ed. Los Angeles: Pine Forge Press, 2010. Print.

Belize Commercial Free Zone

The Commercial Free Zone [pic] Sign to entrance to CFZ [pic] Map layout of CFZ [pic] Plazas, Company Stores & Shoppers inside ‘The Zone. ‘ CRS104-2 Group # 7/ D Research Question: Identify an industry or economic area with in your country where taxation and protection as been removed and look at the condition of it with in your country in terms of: 1. has it worsen or improve 2. variety of choice ( no specification of products made) 3. price of goods ( no indication of the prices of goods) 4. overall employment 5. quality (no indication of the quality of goods) 6. government revenue 7. ocal industry A Brief over View of the Commercial Free Zone or CFZ The Commercial Free Zone is one of Belize’s many Offshore Companies or industries used to attract foreign investors from all over the world to increase Belize’s economy and northern economy. Belize's legislation defines CFZ as â€Å"a geographic area in Belize designated outside national customs territory and duly restricted by controlled access, wherein the benefits created shall apply to a complex of industries. † The CFZ boarders Mexico’s South Eastern border and allows investors to directly access Mexico’s high end consumer market.Corozal’s Commercial Free Zone is under the management of the Commercial Free Zone Management Agency (CFZMA) and is headed by the Chief Executive Officer under a Board of Directors within the Zone. The Commercial Free Zone (CFZ) was established under the Corozal Commercial Free Zone Act of 1994 and was in place by 1997. The FZA is the most modern laws governing Free Zones in Belize. Business entrepreneurs are offered insane tax free business opportunities. Businesses there are free of foreign exchange restrictions and benefits such as duty exemptions and tax holidays.Goods imported or exported are exempt from any duties, quotas, stamp duties and revenue replacement duties. Income tax on Commercial Free Zone businesses is usually c harged between 2% and 8%. Businessmen’s rates can be reduced up to 2% through tax credits by employing Belizean workers. The Zone provides a variety of facilities for activities such as manufacturing, processing, warehousing, packaging and distribution of goods and services. This allows the businessmen today to manufacture, import, export, distribute fuel, and to offer retail or wholesales to Mexico and many other international clients.By doing so, they are also offered access to dock ships at ports in Belize and direct export by sea, air, land and entry into national customs territory. Today the Zone under gone vast improvement since then and continues to do. What started out first as a private sector with a great struggle to attract investors began to pay off due to the involvement of the few businessmen’s determination and dedication. First there were a few companies that only imported and exported their merchandise, then one or two retail stores, and then there was the addition of a SHELL gasoline station.This then offered the Mexicans an economical and better quality fuel than Mexico’s state-run fuel company PEMEX offered. Mexicans then began to invest in the Zone and brought with them numerous stores which offered investors and consumers everything from a more active store location to batteries. Benefits that Foreign Investors Receive from CFZ The following is an extended list of benefits that Investors receive: 1. no restrictions on foreign exchange out of or within a CFZ, including the sale of foreign currency or the transfer of foreign exchange; 2. noGovernment charges and taxes on foreign currency use within a CFZ; 3. all merchandise, articles and goods that enter a CFZ for commercial purposes are exempt from import duties, revenue replacement and stamp duties; 4. all fuel and goods, including buildings materials, equipment, furniture, supplies, etc. , needed for the functioning of a CFZ business are exempt from all duties and ta xes; 5. A Social fee of 1. 5% is charged on all goods and services imported into the CFZ, except for fuel (on fuel it makes 10%); 6. no quotas for imports and exports; 7. t is possible to open an account in any currency with a duly registered bank of CFZ business choice located in the CFZ; 8. no import or export license is required for imports or exports; 9. imports and exports are exempt from all custom duties, consumption and excise taxes, and export duties; 10. During the first 5-year period of business functioning in a CFZ, it is exempt from income tax, or capital gains tax, or any new corporate tax levied by the Government of Belize; any dividends paid by this business are exempt from tax for the first 20-year period of its operation; 11.The loss incurred over the 5years' tax holiday by a CFZ business may be carried forward and deducted against profits in the 3 years after the tax holiday period; 12. Any proceeds from the sale of stock or other ownership interest in a CFZ busin ess are exempt from the above-mentioned tax. Employment, Government Revenue, CFZ Current State of Being and Effects on the Belizean Economy Employment The main industry in Northern Belize that provides over six thousand families with income is the sugar industry.The other main industry which does so is CFZ. By 2003 there were over 400 businesses. Now there are about 700 which are offering employment to over 3000 Belizeans. Government Revenue 1. In 2004, CFZ brought in $274 million in economic activity annually of which the Government charged income tax as the five year mark had passed in 2002. 2. CFZ Christmas sales were approximately 50 percent lower than 2004 in 2008 CFZ Current State of Being Investors are losing confidence in the Belizean economy as: 1. There is less economic activity in the zone.This has left investors who have built million dollar shopping plazas unable to meet financial commitment. As a result, half of the facilities have now become vacant. 2. The Chetumal Ch amber of Commerce consistently pressures the Mexican Federal government to hinder Mexicans from purchasing at CFZ. 3. Before the Belize Bank and Atlantic Bank have been depositing pesos from the Free Zone in banks in Chetumal. Now Mexican banks are refusing to accept pesos deposited at CFZ due to money laundering concerns. Investors are then forced to keep large sums of pesos which posses the risk of theft.As a result the risk of excess pesos forcing the Market is eminent causing investors to sell excess pesos to local currency dealers at a loss due to Mexico’s unstable exchange rate. 4. The Central Bank has lost its account with HSBC (an international bank which used to process the millions of US dollars in cash) this is due to US anti-money-laundering banking regulations. There are periods when commercial banks in CFZ have not been freely taking the US dollars for the past three weeks. As a result, there have been several U. S. dollar freezes at CFZ in 2002, 2009, 2010.This is a very serious matter as it posses a possible treat to place CFZ activities on halt permanently if no resolution is provided. Hence anywhere up to over 17 million US dollars would be left to sits in a vault in Belize unprocessed. Effects on the Belizean Economy Consequences: 1. In 2008, Imports also fell by 38. 9 percent to a new low of $114. 5 million due to losses in the global economy . When economic activity fell to 50% in the Christmas of 2008; it caused the Belizean economy to decline. This is due to the fact that the industry is earning less; less income is being gained by the government through income tax.As a result Commercial activity continues to decline. 2. CFZ income is dependent on foreign currency, especially so US currency. Any change in the U. S economy directly affects us. Also since investors are all foreign, and not local, they can leave at any point in time, and will provided that there is persistent decline in economic activity or U. S Dollar Freezes or whe never financial responsibilities cannot be meet. 3. As a result of businesses closing their shutters permanently thousands of Belizeans are left unemployed. 4. Belizean economy then continues to decline.

Natural Disasters Bring Out the Best and Worst in People Essay Example

Natural Disasters Bring Out the Best and Worst in People Essay Example Natural Disasters Bring Out the Best and Worst in People Paper Natural Disasters Bring Out the Best and Worst in People Paper Essay Topic: A Woman Killed With Kindness Citizen Kane The media keep disaster in the forefront of our minds. TV, radio and the front pages of the press seem to revel in disaster because the public have a morbid curiosity in it, provided that it happens to other people. Disaster boosts TV ratings and sells newspapers. As we absorb the news of a famine, an earthquake, a hurricane, a tsunami, sometimes we tend to put ourselves in the position of the victims and wonder how we would react. In such situations, most people act instinctively, and what they do is more spontaneous than calculated. That spontaneity is usually the subconscious reflection of character, and because fife for most of us is lived on an even keel, how we behave in emergency is largely unpredictable, unless we have been previously conditioned to react in certain ways. The recent earthquake in Manner gave me a vivid example of two contrasting reactions to the same event. The house of a man received a direct hit from the earthquake which killed one of the daughters of the family. The father was a sincere Christian. He fell on his knees and prayed for the souls of the victims. The following day, what remained of his possessions lying round the shattered house were looted. This showed two very different reactions to disaster. Looting often follows the breakdown of law and order. It is never justifiable, but it may be less reprehensible in some circumstances than others. Some would disagree, but they are those who have never seen a disaster such as a famine. If my children were crying for food and I had the chance to steal a bag of flour to make bread for them, I think I would steal the flour. Would this action reflect the best or the worst in me? So what is it that governs our reaction during and after an emergency? The answer to that question is character. Character is governed by genetic structure, by upbringing and training, and by self-discipline, or its absence. If we react badly, we show cowardice, selfishness and indifference to the plight of others. If we react well, our conduct reflects the opposite of these failings. In the latter case, genetic history alone may govern our actions, but in most cases, people are poised between good and bad. It is then that external conditioning will tip the balance in one direction or the other. However, even more important than training is love, the kind which puts others first and helps us to forget self. This is relatively easy where our nearest and dearest are concerned, more difficult and perhaps more admirable where the others concerned have no emotional claim on us. The old Latin tag amour Vinci Omni, love conquers all things, is most germane to our reaction during disaster. There is also truth in the old Biblical saying Perfect love caste out fear. Natural disasters are the most devastating things that could occur in this era of globalization and it is true that it will bring the worst in some of us. Yet there were countless examples of bravery and unselfishness when en would help the wounded or engage hopeless odds with total disregard for their own survival. Some of these actions were recognized by the award of medals and decorations. Most were not. This was in some ways the most admirable product of this century. And whether the disaster is an earthquake or a hurricane, adversity tends to bring people together in a way that nothing else can. It goes without saying that the effectiveness of a service unit depends on the fact that every man knows he can depend on his colleague, whether he likes him or not. Whatever the disaster, the same spirit is seen in cost of the civilian population. People open their homes and hearts to each other, offer help, comfort and encouragement in a way which is never seen when life is easy and normal. The earthquake and tsunami that battered north-eastern Japan three weeks ago have put on display Some Of the nations finest features. Anyone who has spent time among survivors would surely agree this disaster has shown this nation at its best. Though the government response has inevitably been inadequate in some areas, relief efforts have been orderly and generally effective. And those much-maligned politicians eave at least managed to pause the feuding behind ruling parties and opposition groups that had threatened to derail next years government budget. Meanwhile, all along the north-eastern coast, people who have lost loved ones and homes have responded with uncomplaining restraint and self-discipline. It IS a measure of the high standards of social order Japanese set themselves that residents of the battered port of Fount recoil with dismay at rumors that four people have been arrested for stealing from ruined homes. I thought this was a good town, says one resident. Even mongo the rubble it is possible to hear neighbors greet each other and visitors with polite humor. Asked how victims can still laugh at a time like this, Mammas Mira, a fisheries co-operative chief from a village in coastal Sashimi, draws chuckles from his friends by answering: Every Japanese samurai! Historic accounts of the San Francisco earthquake demonstrate how the best in people are productively deployed from the moment the fires began to blaze. While the post-earthquake tremors continued to shake the ground beneath them, public servants working for institutions like the Post Office moored instructions to flee, and saved their own places of employment by skilful concentrated collective action. Some citizens, whose homes had been destroyed had begged, borrowed and stole food, coffee, tea and milk to set up impromptu cafes in the wreckage, which provided centers of contact and comfort for other survivors. They did this despite the officious pointless interference of military men who felt threatened by spontaneous action on the part of the citizen. Another good example how disasters bring out the best in people is the natural emergence of a volunteer corps. The natural emergence of volunteer forces in an emergency fits with the theory that those emergencies provide what prosperous routine times do not: a way to fulfill the basic human need for community identity. Some saw this side-effect of disaster as so important; they even described natural calamities as social utopias. Yes, people lose their homes, their businesses, their property and so much more. But at the same time they experience the kindness of strangers and the freedom that comes from the abandonment of possessions that they will never get to experience otherwise. These volunteer rescuers (who, statistically, tend to save more lives than do the emergency services) are disregarded by the media because media tends to arrive along with the official disaster responders; the police, military and corps Of engineers. Media have the habit Of relying On official sources for clear responses which carry more clout with the viewing public than the story of an unofficial volunteer rescuer. Media prefer the ordinary punter to be in victim mode, ideally weeping noisily over their loss. Chirrups volunteers dont fit easily in the traditional TV assister narrative. So we will see more pictures of residents in the flood- stricken areas looking at their destroyed possessions or queuing for water than we will see of them doing the rescue work they excelled in over the past few days. The image will be one of pathos and passivity, rather than euphoric coping. Mass media can cope with one individual showing boundless courage and resource because that individual can become an identifiable hero. Its not as good at capturing collective heroism, particularly when it takes unromantic forms like the making of hundreds of sandwiches. However, disasters like the Christopher earthquake can also bring out those seeking to exploit a tragedy. Two Japanese journalists were arrested overnight when they tried to break into hospital to interview victims. A man has been arrested for impersonating a building inspector and asking to see peoples valuables in a bid to steal from them. Sups Russell Gibson says police have received reports of individuals posing as CEQ staff asking about electronic items in homes. Cowardice accounts for most of peoples worst reactions to disaster. In fact few people, if any, are fearless. The earthquake that battered north-eastern Japan three weeks ago has also put on display some of the nations worst features. On the negative side, the natural disaster has brutally exposed the failings Of a nuclear power industry that many Japanese have for decades viewed with distrust. In doing so, it points at the high cost of the technological hubris and faith in construction as a solution to any social or economic problem that was a powerful strand in policymaking even before late prime minister Kaki Tanana in the sass set government the goal of remodeling he Japanese archipelago. That powerful earthquake and the huge tsunami it unleashed were undoubtedly a formidable double-whammy. But even a magnitude 9 quake hardly lies beyond the boundary of the Largest Conceivable Earthquake that Tepee claims its plants are designed to withstand. And while it will take time to establish all the links that make up the chain of disaster engulfing the Fuchsia plant, it is hard not to think that Tepees chronic problems with safety and disclosure could be factors in the current crisis. The crisis may end up taking a further toll on the tattered petition of Japanese politicians. It is they, after all, who have failed to protect the publics interest in a safe nuclear industry. And while the Democratic party-led governments short time in office means it can hardly be blamed for creating the crisis, Mr. Kane has hardly emerged as the kind of leader able to comfort and calm the nation at such a time. While, when disaster strikes, it is true that some people see opportunity to lend a helping hand for their fellow man or fellow Woman, Some folk see dollar signs written all over other peoples pain. Misery money remains a strong draw in our oral. People capitalize on human misery every day wars, unrests, earthquakes, floods, wildfires, storms, el onions, la minas, volcanoes, poverty, etc. Not all of us would react to disaster as we think. Self- preservation is the strongest natural impulse of all. Indifference to self has to be a very powerful counter-impulse if we are to be confident of behaving in the way we would hope. Or, to put it more crudely, we can pull together to do something about an earthquake, and feel good in the process, whereas negative equity and salary cuts leave us bailing for dear life on our own.

Free sample - Cannabis. translation missing

Cannabis. CannabisAccording to Brown (1998), Cannabis can be defined as a genus among the flowering plants comprising of three recognized species namely, Cannabis indica, Cannabis ruderalis, and Cannabis sativa. The three classifications are autochthonous to South Asia, and Central Asia. Cannabis is a very unique plant that is used for a number of reasons, both positive and negative and its uses can affect the entire global society. Cannabis is known by a number of names, for instance, Marijuana, Grass, Attention Getter-weed, Dope, and Pot. For a number of years, there has been a stigma accompanying the Cannabis plant and it has been seen as an inherently evil plant by most of the people in any given society. Apparently, it is the use or misuse of the plant that is bad or good, and not the plant itself. Cannabis can be eaten, smoked, or drunk just like tea. If Cannabis is taken in low doses it can bring about a relaxed state of mood while higher doses of Cannabis may bring about euphoria. It has been clear that, not every individual sees positive consequences from cannabis, for instance, most of the novice users and the high dose steady users have experienced increased paranoia or anxiety. It has been found that the main active ingredient of cannabis called delta-9-tetrahydrocannabinol, affects processing of information as well as speed of response such that the activities that involve skilled responses like driving can be affected negatively (Nahas Latour, 1993).  Ã‚   Cannabis is a long-lasting hemp plant. Over many years, the cannabis plant has been used to manufacture a variety of products namely, pulp, seeds, and medicine. The Cannabis plant pulp has been used as fuel and as a raw material for making paper. The seed has been used in foods but the oil that is extracted from the seed can be utilized as a base for varnishes and paints. The leaves and blossoms of the hemp plant excrete a sticky resin which is usually used in a number of medicinal functions and in most cases for entertaining people as they abuse its use (Potter Joy 1998). Most consciousness-altering drugs comprise of both constructive and destructive effects. Apparently, people use drugs following their constructive effects but most of them are not aware of the possible destructive effects. Therefore, it is the ratio of the constructive to destructive effects that propels much of the debates regarding drugs. Some individuals perceive the use of Cannabis as a better option, while for other people the use of Cannabis is more casual. Just like all the other substances, there is a possible price that can be paid regarding the risks to one’s health (Brown, 1998). References Brown, D., (1998). Cannabis: the Genus Cannabis. Boca Raton: CRC Press. Potter, B., Joy, D. (1998). The Healing Magic of Cannabis. USA: Ronin Publishing. Nahas, G., Latour, C. (1993). Cannabis. Boca Raton: CRC Press.

Playtime- Modern Architecture in the future Paris Research Paper

Playtime- Modern Architecture in the future Paris - Research Paper Example Modern skyscrapers, glass apartment, glass buildings and the visit by the American tourist shows a great step Tati has taken to represent modern architecture in the modern Paris. The accidents that occur in the movie show that the people around are not used to the modern architect. Therefore, it is a new thing introduced. The film revolves about how human beings wander baffled by the cities and the architectures. The centre of intelligence resides behind the camera and not on a particular point of view2. Tati created the movie with the focus of creating a new Paris with repetitive housing projects and modern skyscrapers. By this, he virtually omitted traditional Paris except in one scene where there is a reflection of Arc de Triomphe in a window3. In addition, where a woman is walking in a glass building and the Eiffel tower is seen in the frameless glass door. This is seen in the travel bureau where modernist buildings of the world have posters that are identical. The relationship between the people and the modern architecture is put into question. What is the intermarriage between the two and how have people really appreciated it. Has the film industry really grown to accommodate the modern architect? The people in the movie seem to be fascinated y the modern architecture especially the American tourist who seem to be fascinated by the tall skyscrapers and the glass buildings. Among them is Barbara who at the end is given a square present to fit into her head. It is mostly observed that many of them forget the presence of the glass and end up causing accidents. An example is Hulot himself who bangs himself at the glass door. The film industry appreciates the modern architecture by the quality of the pictures it shows. The director used a 70mm high definition camera to film the movie and also in the evening at Hulots’ old friend house the movie is filmed from outside and from the neighborhood yet we can get clearly pictures4. The movie is one that

The Sales Plan for Ontela PicDeck Essay Example | Topics and Well Written Essays - 2500 words

The Sales Plan for Ontela PicDeck - Essay Example Consumers also reflected increased affinity of sending photos through the use of electronic mails and also storing photos on the in the effective desktop which is enabled through the use of the PicDeck service. The major competitors for Ontela PicDeck can be evaluated to be like Eye-Fi and Transcend that offer technology solutions relating to data transfer in a wireless medium and also in the storage of the same in memory cards. It is observed that wireless technology companies like Eye-Fi and Transcend enable the collection of a large number of photos and thereby contribute in transferring the same to other devices based on the wireless medium and also through the use of the cloud interface. Eye-Fi and Transcend have viewed as the significant players in the wireless market ineffective transfers of a large number of photos from cameras to Smartphones and also from mobile devices to computers. It is observed that where Transcend tends to generate a 32 GB Wi-Fi card for around $72.45; Eye-Fi tends to generate a 16 GB Wi-Fi card for around $89.74. In terms of price and storage features, Transcend tends to be the most appealing product let alone the performance and technology competence of Eye- Fi. Technology offered by such companies contributes in effectively sharing the contents between the mobile phones and laptops and personal computers such that the same can be further shared through the use of electronic mails and social platforms like Facebook (Perlman 2013).  

Contract law Essay Example | Topics and Well Written Essays - 1250 words

Contract law - Essay Example The advertisement which Kelly has placed in the local newspaper is an offer that has been made to the world at large, such as for example in the case of Carlill v Carbolic Smoke Ball Co.3 A mere offer will only constitute a unilateral contract, which will also be deemed valid only if some party proffers an unconditional acceptance of the terms of the offer.4 John has seen the advertisement in the paper and has posted his acceptance to Kelly. However as McKendrick states, for a contract to be valid, â€Å"there must be a definite offer mirrored by a definite acceptance.†5 An acceptance will be said to occur when the offeree’s words or conduct can give rise to an objective reference that he/she has assented to the terms offered.6 On this basis, Kelly’s advertisement in the paper constitutes a definite offer and John’s reply constitutes an acceptance of the terms of the offer. In the case of Gibson v Manchester City Council, it was held that the acceptance of the offer must also be communicated before it can be valid on a contractual basis.7 According to Lord Denning no contract will come into existence unless and until the acceptance has been communicated to the offerer8. Therefore, if a contract is to exist between Kelly and John, then Kelly should have received John’s acceptance of her original offer, without any changes in its terms. John has indeed accepted the offer as per its original terms and since John’s acceptance of the offer has been sent by post then it will be held to be a valid acceptance as soon as he posted his letter.9 In fact, the courts have held that where a postal; acceptance is concerned, it will hold good even in those instances where the letter is delayed or lost in the post so that it never reaches the offerer.10 However, an offer cannot be accepted by the offeree unless and until the offer is communicated to him/her and silence cannot be

Finance in International Markets Essay Example for Free

Finance in International Markets Essay Describe the tradeoffs that are involved for each method (such as exporting, direct foreign investment, etc. ) that Snyder could use to achieve its goal. ANSWER: Snyder can export the clubs, but the transportation expenses may be high. If could establish a subsidiary in Brazil to produce and sell the clubs, but this may require a large investment of funds. It could use licensing, in which it specifies to a Brazilian firm how to produce the clubs. In this way, it does not have to establish its own subsidiary there. b. Which method would you recommend for this firm? Justify your recommendation. ANSWER: If the amount of golf clubs to be sold in Brazil is small, it may decide to export. However, if the expected sales level is high, it may benefit from licensing. If it is confident that the expected sales level will remain high, it may be willing to establish a subsidiary. The wages are lower in Brazil, and the large investment needed to establish a subsidiary may be worthwhile. 15. Impact of Political Risk. Explain why political risk may discourage international business. Some foreign projects would have been feasible if there was no political risk, but will not be feasible because of political risk. 17. International Joint Venture. Anheuser-Busch, the producer of Budweiser and other beers, has recently expanded into Japan by engaging in a joint venture with Kirin Brewery, the largest brewery in Japan. The joint venture enables Anheuser-Busch to have its beer distributed through Kirin’s distribution channels in Japan. In addition, it can utilize Kirin’s facilities to produce beer that will be sold locally. In return, Anheuser-Busch provides information about the American beer market to Kirin. . Explain how the joint venture can enable Anheuser-Busch to achieve its objective of maximizing shareholder wealth. ANSWER: The joint venture creates a way for Anheuser-Busch to distribute Budweiser throughout Japan. It enables Anheuser-Busch to penetrate the Japanese market without requiring a substantial investment in Japan. b. Explain how the jo int venture can limit the risk of the international business. ANSWER: The joint venture has limited risk because Anheuser-Busch does not need to establish its own distribution network in Japan. Thus, Anheuser-Busch may be able to use a smaller investment for the international business, and there is a higher probability that the international business will be successful. c. Many international joint ventures are intended to circumvent barriers that normally prevent foreign competition. What barrier in Japan is Anheuser-Busch circumventing as a result of the joint venture? What barrier in the United States is Kirin circumventing as a result of the joint venture? ANSWER: Anheuser-Busch is able to benefit from Kirin’s distribution system in Japan, which would not normally be so accessible. Kirin is able to learn more about how Anheuser-Busch expanded its product across numerous countries, and therefore breaks through an â€Å"information† barrier. d. Explain how Anheuser-Busch could lose some of its market share in countries outside Japan as a result of this particular joint venture. ANSWER: Anheuser-Busch could lose some of its market share to Kirin as a result of explaining its worldwide expansion strategies to Kirin. However, it appears that Anheuser-Busch expects the potential benefits of the joint venture to outweigh any potential adverse effects.

The Ultimate Pet: A Pet Rock Essay -- essays research papers

The Ultimate Pet: A Pet Rock A pet rock can be as comforting to me as any canine or feline. Some would believe that a man's best friend is a dog. However, living in a confined two bedroom apartment, I do not have the luxury or permission for a forty pound dog to be plopping around. This is why I have found comfort in my pet rock. A pet rock can replace many of the duties, such as a companionship, I can get from a pet dog or cat. When I go shopping for a pet, I look for the appropriate size and color to meet my needs. Some people like big animals, some small. Some animals come in black, brown, white, yellow; yet some are spotted. The same goes for my rock. When I went "shopping" for my rock, I didn't want o...

Electronic Literature as an Information System Essay

ABSTRACT Electronic literature is a term that encompasses artistic texts produced for printed media which are consumed in electronic format, as well as text produced for electronic media that could not be printed without losing essential qualities. Some have argued that the essence of electronic literature is the use of multimedia, fragmentation, and/or non-linearity. Others focus on the role of computation and complex processing. â€Å"Cybertext† does not sufficiently describe these systems. In this paper we propose that works of electronic literature, understood as text (with possible inclusion of multimedia elements) designed to be consumed in bi- or multi-directional electronic media, are best understood as 3-tier (or n-tier) information systems. These tiers include data (the textual content), process (computational interactions) and presentation (on-screen rendering of the narrative). The interaction between these layers produces what is known as the work of electronic literature. This paradigm for electronic literature moves beyond the initial approaches which either treated electronic literature as computerized versions of print literature or focused solely on one aspect of the system. In this paper, we build two basic arguments. On the one hand, we propose that the conception of electronic literature as an  information system gets at the essence of electronic media, and we predict that this paradigm will become dominant in this field within the next few years. On the other hand, we propose that building information systems may also lead in a shift of emphasis from one-time artistic novelties to reusable systems. Demonstrating this approach, we read works from the _Electronic Literature Collection Volume 1_ (Jason Nelson and Emily Short) as well as newer works by Mez and the team gathered by Kate Pullinger and Chris Joseph. Glancing toward the future, we discuss the n-tier analysis of the Global Poetic System and the La Flood Project. INTRODUCTION The fundamental attributes of digital narrative have been, so far, mostly faithful to the origin of electronic text: a set of linked episodes that contain hypermedia elements. Whether or not some features could be reproduced in printed media has been subject of debate by opponents and proponents of digital narratives. However, as the electronic media evolves, some features truly unique to digital narrative have appeared. For instance, significant effort has been invested in creating hypertexts responsive to the reader’s actions by making links dynamic; additionally, there have been efforts to create systems capable of producing fiction, with varying degrees of success. Both approaches have in common that they grant greater autonomy to the computer, thus making of it an active part of the literary exchange. The increasing complexity of these systems has directed critical attention to the novelty of the processes that produce the texts. As critics produce a flood of neologisms to classify these works, the field is suffering from a lack of a shared language for these works, as opposed to drawing from the available computer science and well-articulated terminology of information systems. The set {Reader, Computer, Author} forms a system in which there is flow and manipulation of information, i.e. an _information system_. The interaction between the elements of an information system can be isolated in functional tiers. For instance: one or many data tiers, processing tiers, and presentation tiers. In general we will talk about n-tier information  systems. We will expand this definition in the next section. In this system, a portion of information produced (output) is taken, totally or partially, as input, i.e. there is a feedback loop and therefore the process can be characterized as a cybernetic process. Of course, the field has already embraced the notion of the cybertext. The term cybertext was brought to the literary world’s attention by Espen Aarseth (1997). His concept focuses on the organization of the text in order to analyze the influence of media as an integral part of literary dynamics. According to Aarseth, cybertext is not a genre in itself. In order to classify traditions, literary genres and aesthetic value, Aarseth argues, we should inspect texts at a much more local level. The concept of cybertext offers a way to expand the reach of literary studies to include phenomena that are perceived today as foreign or marginal. In Aarseth’s work, cybertext denotes the general set of text machines which, operated by readers, yield different texts for reading. Aarseth (1997, p. 19), refuses to narrow this definition of cybertext to â€Å"such vague and unfocused terms such as digital text or electronic literature.† For the course of this paper, we will use the phrase â€Å"electronic literature,† as we are interested in those works that are markedly literary in that they resonate (at least on one level) through evocative linguistic content and engage with an existing literary corpus. While we find â€Å"cybertext† to be a useful concept, the taxonomies and schematics that attend this approach interfere with interdisciplinary discussions of electronic literature. Instead of using Aarseth’s neologisms such as textons, scriptons and traversal functions, we will use widely-accepted terminology in the field of computer science. This shift is important because the concepts introduced by Aarseth, which are relevant to the current discussion, can be perfectly mapped to concepts developed years earlier in computer science. While the neologisms introduced by Aarseth remain arcane, the terms used in computer science are pervasive. Although the term cybertext adds a sense of increasingly complex interactivity, its focus is primarily on the interaction between a user and  a single art object. Such a framework, however, insufficiently describes the constitution of such an object. Within his treatise, Aarseth is compelled to create tables of attributes and taxonomies to map and classify each of these objects. What is needed is a framework for discussing how these systems operate and how that operation contributes to an overall literary experience. We want to make a clear distinction between this notion of cybertext as a reading process and more thorough description of a work’s infrastructure. Clearly, there are many ways in which the interaction between a reader and a piece of electronic literature can happen; for instance, a piece of electronic literature could be written in HTML or in Flash, yet presenting the same interaction with the reader. In this paper, we adapt the notion of n-tier information systems to provide a scaffolding for reading and interpreting works of electronic literature. The fact that the field of electronic literature is largely comprised of cybertexts (in the sense described above) that require some sort of processing by the computer, has made of this processing a defining characteristic. Critics and public approach new works of electronic literature with the expectation of finding creativity and innovation not only at the narrative level but also at the processing level; in many cases the newness of the latter has dominated other considerations. NEW, NEWER, NEWEST MEDIA Until now, electronic literature, or elit, has been focused on the new, leading to a constant drive to reinvent the wheel, the word, the image, the delivery system, and consequently reading itself. However, such an emphasis raises a number of questions. To what extent does the â€Å"novel† requirement of electronic literature (as the field is currently defined) de-emphasize a textual investment in exploring the (post)human condition (â€Å"the literary†)? How does this emphasis on the â€Å"new† constrain the development of New Media both for authors and for prospective authors? Or how does such an emphasis put elit authors into an artistic arms race taking on the aethetics of the militiary-industrial complex that produces their tools? Literary essays that treat electronic literature focus on Flash movies, blogs, HTML pages, dynamically generated pages, conversation agents, computer games, and other software applications. A recent edition of Leonardo Almanac (AA.VV. 2006) offers several examples. Its critics/poets analyze the â€Å"information landscapes† of David Small, the text art experiments of Suguru Ishizaki (2003), Brian Kim Stefans’ 11-minute Flash performance, and Philippe Bootz’s matrix poetry program. Though not all the objects are new, what they share most of all is the novelty of their surface or process or text. These works bear little resemblance to one another, a definitive characteristic of electronic literature (dissimilarity); however, their inclusion under one rubric reflects the field’s fetishization of the new. This addiction, mimicking that of the hard sciences it so admires, must constantly replace old forms and old systems with the latest system. Arguably, therefore, any piece of electronic literature may only be as interesting as its form or its novel use of the form. Moreover, such an emphasis shifts the critical attention from the content (what we will call data) to its rendering (or presentation plus processes) primarily. Marie-Laure Ryan (2005) raised charges against such an aesthetic in her _dichtung-digital_ article. In this piece, she rails against a certain style of new media, net.art, elit art object that follows WYSINWYG (What you see is _NOT_ what you get), where the surface presents a text that is considered interesting only because of a more interesting process beneath the surface. This approach, according to Ryan, focuses on â€Å"the meta-property of algorithmic operation.† For this aesthetic, â€Å"the art resides in the productive formula, and in the sophistication of the programming, rather than in the output itself† (Ryan). This means that literary, or artistic value, does not reside in what appears on the screen, but in the virtuoso programming performance that underlies the text. While Ryan goes too far in her dismissal of experimentation, her critique holds, in as much as electronic literary criticism that puts process uber alis risks not only minimizing the textual to insignificance but also losing what should be one of elit’s biggest goals: developing new forms for other authors to use and  explore. Such an emphasis reveals a bias that has thus far dominated new media scholarship. This same bias leads new media scholars away from literary venues for their discourse communities and instead to Boing Boing and Siggraph, sites where curiosity or commercial technological development dominate the discussions. It is also what spells instant obsolescence to many authorware forms. The person who uses authorware as it was intended is not the new media artist. It is the person who uses it in a new way or who reconfigures the software to do something unintended. This trend means that electronic literary artists will constantly be compelled to drive their works towards the new, even while it means a perpetual pruning of all prior authorware, cutting them off from the†literary† tree. (We see this same logic in commerical software production where the 4.0 release reconfigures the interface and removes some of the functionality we had grown to love.) A disproportionate emphasis on the new overlooks the tremendous areas of growth in authorship on the stabilizing, if rudimentary, authoring systems. The tide of productivity (in terms of textual output of all levels of quality) is not from an endless stream of innovations but from people who are writing text in established author information formats, from traditional print to blogs. It is through the use of stabilized and reusable information systems that the greater public is being attracted to consume and produce content through digital media. Blogging is the clearest example. This is not equivalent to saying that all blogging is literary, just as not all writing is; however, blogging has created a social practice of reading and writing in digital media, thus increasing the frequency at which literary pieces appear through that venue. This increased community activity would have been impossible if each blogger had to develop their own authoring systems. To help redistribute the scholarly priorities, we propose a reconsideration of electronic literature as an n-tier information system. The consequence of this shift will be twofold: First of all, it will allow us to treat content and processing independently, thus creating a clear distinction between works of literary merit and works of technological craftsmanship. While this  distinction is at best problematic, considering the information system as a whole will move the analysis away from over-priveleging processes. Secondly, we claim that this approach provides a unified framework with which all pieces of electronic literature can be studied. This paper is organized as follows: in Section 1 (Introduction) we describe what is the problem we intend to explore, and what are the type of systems that will be described in this paper. Section 2 (Information Systems) explores the components of an information system and compares the approaches of different researchers in the field. Section 3 (Examples) demonstrates that the n-tier information system approach can be used to describe a multifarious array of pieces of electronic literature. Section 4 (Discussion) explores the conclusions drawn from this study and set future directions. INFORMATION SYSTEMS Since electronic literature is mediated by a computer, it is clear that there must exist methods to enter information into the system, to process it, and to render an output for readers; that is to say, a piece of electronic literature can be considered as an _information system_. The term â€Å"information system† has different meanings. For instance, in mathematics an â€Å"information system† is a basic knowledge-representation matrix comprised of attributes (columns) and objects (rows). In sociology, â€Å"information systems† are systems whose behavior is determined by goals of individual as well as technology. In our context, â€Å"information system† will refer to a set of persons and machines organized to collect, store, transform, and represent data, a definition which coincides with the one widely accepted in computer science. The domain-specific twist comes when we specify that the data contains, but is not limited to, literary information. Information systems, due to their complexity, are usually built in layers. The earliest antecedent to a multi-layer approach to software architectures goes back to Trygve Reenskaug who proposed in 1979, while visiting the Smalltalk group at Xerox PARC, a pattern known as Model-View-Controller  (MVC) that intended to isolate the process layer from the presentation layer. This paradigm evolved during the next decade to give rise to multi-tier architectures, in which presentation, data and processes were isolated. In principle, it is possible to have multiple data tiers, multiple process tiers, and multiple presentation tiers. One of the most prominent paradigms to approach information systems in the field of computer science, and the one we deem more appropriate for electronic literature, is the 3-tier architecture (Eckerson, 1995). This paradigm indicates that processes of different categories should be encapsulated in three different layers: 1. Presentation Layer: The physical rendering of the narrative piece, for example, a sequence of physical pages or the on-screen presentation of the text. 2. Process Layer: The rules necessary to read a text. A reader of Latin alphabet in printed narrative, for example, must cross the text from left to right, from top to bottom and pass the page after the last word of the last line. In digital narrative, this layer could contain the rules programmed in a computer to build a text output. 3. Data Layer: Here lays the text itself. It is the set of words, images, video, etc., which form the narrative space. In the proposed 3-tier model, feedback is not only possible, but also a _sine qua non_ condition for the literary exchange. It is the continuation of McLluhan’s mantra: â€Å"the media is the message†. In digital narrative, the media acts on the message. The cycle of feedback in digital narrative is: (i) Readers receive a piece of information, and based on it they execute a new interaction with the system. (ii) The computer then takes that input and applies logic rules that have been programmed into it by the author. (iii) The computer takes content from the data layer and renders it to the reader in the presentation layer. (iv) step -i – is repeated again. Steps i through v describe a complete cycle of feedback, thus the maximum realization of a cybertext. N-tier information systems have had, surprisingly, a relatively short penetration in the field of electronic literature. Aarseth (1997, p.62) introduced a typology for his textonomy that maps perfectly a 3-tier system: Scriptons (â€Å"strings as they appear to readers†) correspond to the presentation layer, textons (â€Å"strings as they exist in the text†) correspond to the data layer, and traversal function (â€Å"the mechanism by which scriptons are revealed or generated from textons and presented to the user†) corresponds to the process layer. These neologisms, while necessary if we study all forms of textuality, are unnecessary if we focus on electronic literature. The methods developed in computer science permeate constantly, and at an accelerating rate, the field of electronic literature, specially as artists create pieces of increasing complexity. Practitioners in the field of electronic literature will be better equipped to benefit from the advances in information technology if the knowledge acquired in both fields can be bridged; without a common terminology attempts to generate dialog are thwarted. The first reference that used computer science terminology applied to electronic literature appeared in an article by Gutierrez (2002), in which the three layers (data, logic and presentation) were clearly defined and proposed as a paradigm for electronic literature. Gutierrez (2004, 2006) explored in detail the logic (middle) layer, proposing algorithms to manage the processes needed to deliver literary content through electronic media. His proposal follows the paradigm proposed by Eckerson (1995) and Jacobson et al (1999): the system is divided into (a) topological stationary components, (b) users, (c) and transient components (processes). The processes in the system are analyzed and represented using sequence diagrams to depict how the actions of the users cause movement and transformation of information across different topological components. The next reference belongs to Wardrip-Fruin (2006); he proposes not three, but seven components: (i) author, (ii) data, (iii) process, (iv) surface, (v) interaction, (vi) outside processes, and (vii) audiences. This vision corresponds to an extensive research in diverse fields, and the interpretation is given from a literary perspective. Even though  Wardrip-Fruin does not use the terminology already established in computer science, nor he makes a clear distinction between topology, actors and processes, his proposal is essentially equivalent, and independent, from Gutierrez’s model. In Wardrip-Fruin’s model, author -i- and audience -vii- correspond to actors in the Unified Process (UP); process -iii- and interaction -v- correspond to the process layer in the 3-tier architecture (how the actors move information across layers and how it is modified); data -ii- maps directly the data layer in the 3-tier model; finally, surface -iv- corresponds to the presentation layer. The emergence of these information systems approaches marks the awareness that these new literary forms arise from the world of software and hence benefit from traditional computer science approaches to software. In the Language of New Media, Lev Manovich called for such analysis under the rubric of Software Studies. Applying the schematics of computer science to electronic literature allows critics to consider the complexities of that literature without falling prey to the tendency to colonize electronic literature with literary theory, as Espen Aarseth warned in Cybertext. Such a framework provides a terminology rather than the imposition of yet another taxonomy or set of metaphors that will always prove to be both helpful and glaringly insufficient. That is not to say that n-tier approaches fit works without conflict. In fact, some of the most fruitful readings come from the pieces that complicate the n-tier distinctions. EXAMPLES DREAMAPHAGE 1 & 2: REVISING OUR SYSTEMS Jason Nelson’s Dreamaphage (2003, 2004) demonstrates the ways in which the n-tier model can open up the complexities and ironies of works of electronic literature. Nelson is an auteur of interfaces, and in the first version of this piece he transforms the two-dimensional screen into a three-dimensional navigable space full of various planes. The interactor travels through these planes, encountering texts on them, documentation of the disease. It is as if we are traveling through the data structure of the story itself, as if  the data has been brought to the surface. Though in strict terms, the data is where it always was supposed to be. Each plane is an object, rendered in Flash on the fly by the processing of the navigation input and the production of vector graphics to fill the screen. However, Nelsons’ work distances us, alienates us from the visual metaphors that we have taken for the physical structures of data in the computer. Designers of operating systems work hard to naturalize our relationship to our information. Opening windows, shuffling folders, becomes not a visual manifestation but the transparent glimpse of the structures themselves. Neal Stephenson has written very persuasively on the effect of replacing the command line interface with these illusions. The story (or data) behind the piece is the tale of a virus epidemic, whose primary symptom is the constant repetition of a dream. Nelson writes of the virus’ â€Å"drifting eyes.† Ultimately the disease proves fatal, as patients go insane then comatose. Here the piece is evocative of the repetitive lexias of classical electronic literature, information systems that lead the reader into the same texts as a natural component of traversing the narrative. Of course, the disease also describes the interface of the planes that the user travels through, one after the other, semi-transparent planes, dreamlike visions. This version of Dreamaphage was not the only one Nelson published. In 2004, Nelson published a second interface. Nelson writes of the piece, â€Å"Unfortunately the first version of Dreamaphage suffered from usability problems. The main interface was unwieldy (but pretty) and the books hard to find (plus the occasional computer crash)† (â€Å"Dreamaphage, _ELC I_) He reconceived of the piece in two dimensions to create a more stable interface. The second version is two-dimensional and Nelson has also â€Å"added a few more extra bits and readjusted the medical reports.† In the terms of n-tier, his changes primarily affected the interface and the data layers. Here is the artist of the interface facing the uncanny return of their own artistic creation in a world where information systems do not lie in the stable binding in a book but in a contingent state that is always dependent  on the environments (operating systems) and frames (browser) in which they circulate. As the user tries to find a grounding in the spaces and lost moments of the disease, Nelson himself attempts to build stability into that which is always shifting. However, do to a particular difference in the way that Firefox 2.0 renders Flash at the processing layer, interactors will discover that the†opening† page of the second version is squeezed into a fraction of their window, rather than expanding to fill the entire window. At this point, we are reminded of the work’s epigram, â€Å"All other methods are errors. The words of these books, their dreams, contain the cure. But where is the pattern? In sleeping the same dream came again. How long before I become another lost?† (â€Å"opening†). As we compare these two versions of the same information system, we see the same dream coming again. The first version haunts the second as we ask when will it, too, become one of the lost. Though Nelson himself seems to have an insatiable appetite for novel interfaces, his own artistic practices resonate well with the ethos of this article. At speaking engagements, he has made it a practice to bring his interfaces, his .fla (Flash source) files, for the attendees to take and use as they please. Nelson presents his information systems with a humble declaration that the audience may no doubt be able to find even more powerful uses for these interfaces. GALATEA: NOVELTY RETURNS Emily Short’s ground-breaking work of interactive fiction offers another work that, like its namesake in the piece, opens up to this discussion when approached carefully. Galatea’s presentation layer appears to be straight forward IF fare. The interactor is a critic, encountering Galatea, which appears to be a statue of a woman but then begins to move and talk. In this novel work of interactive fiction, the interactor will not find the traditional spacial navigation verbs (go, open, throw) to be productive, as the action focuses on one room. Likewise will other verbs prove themselves unhelpful as the user is encouraged in the help instructions to â€Å"talk† or  Ã¢â‚¬Å"ask† about topics. In Short’s piece, the navigational system of IF, as it was originally instantiated in Adventure, begins to mimic a conversational system driven by keywords, ala Joseph Weizenbaum’s ELIZA. Spelunking through a cave is replaced with conversing through an array of conversational replies. Galatea does not always answer the same way. She has moods, or rather, your relationship with Galatea has levels of emotion. The logic layer proves to be more complex than the few verbs portend. The hunt is to figure out the combination that leads to more data. Galatea uses a novel process to put the user in the position of a safe cracker, trying to unlock the treasure of answers. Notice how novelty has re-emerged as a key attribute here. Could there be a second Galatea? Could someone write another story using Galatea’s procesess. Technically no, since the work was released in a No-Derivs Creative Commons license. However, in many ways, Galatea is a second, coming in the experimental wave of artistic revisions of interactive fiction that followed the demise of the commercially produced text adventures from Infocom and others. Written in Z-Machine format, Galatea is already reimagining an information system. It is a new work written in the context of Infocom’s interactive fiction system. Short’s work is admittedly novel in its processes, but the literary value of this work is not defined by its novely. The data, the replies, the context they describe, the relationship they create are rich and full of literary allusions. Short has gone on to help others make their own Galatea, not only in her work to help develop the natural language IF authoring system Inform 7 but also in the conversation libraries she has authored. In doing so, she moved into the work of other developers of authoring systems, such as the makers of chatbot systems. Richard S. Wallace developed one of the most popular of these (A.I.M.L..bot), and his work demonstrates the power of creating and sharing authorware, even in the context of the tyranny of the novel. A.L.I.C.E. is the base-line conversational system, which can be downloaded and customized. Downloading the basic, functioning A.L.I.C.E. chatbot as a foundation allows users to concentrate on editing recognizeable inputs and systematic responses. Rather than worrying about how the system will respond to input, authors, or botmasters, can focus on creating what they system will say. To gain respect as a botmaster/author, one cannot merely modify an out-of-the-box ALICE. The user should further customize or build from the ground up using AIML, artificial intelligence markup language, the site-specific language created for Wallace’s system. They must change the way the system operates–largely, because the critical attention around chatbots follows more the model of scientific innovation more than literary depth. However, according to Wallace, despite the critics’ emphasis on innovations, the users have been flocking to ALICE, as tens of thousands of users have created chatbots using the system (Be Your Own Botmaster). AIML becomes an important test case because while users may access some elements of the system, because they are not changing fundamentals, they can only make limited forays into the scientific/innovation chatbot discussions. Thus while our n-tier model stresses the importance of creating authorware and understanding information systems, novelty still holds an important role in the development of electronic literature. Nonetheless, interactors can at least use their pre-existing literacies when they encounter an AIML bot or a work of interactive fiction written on a familiar platform. LITERATRONICA Literatronic is yet another example of an n-tier system. Its design was based entirely in the concept of division between presentation, process and data layers. Every interaction of the readers is stored in a centralized database, and influences the subsequent response of the system to each reader’s interactions. The presentation layer employs web pages on which the reader can access multiple books by multiple authors in multiple languages.  The process layer is rather complex, since it uses a specialized artificial intelligence engine to adapt the book to each reader, based upon his/her interaction, i.e. and adaptive system. The data layer is a relational database that stores not only the narrative, but also reader’s interaction. Since there is a clear distinction between presentation, data and process, Literatronica is a 3-tier system that allows authors of multiple language to focus on the business of literary creation. MEZ’S CODE: THE SYSTEMS THAT DO NOT USE A COMPUTER[1] As with many systematic critical approaches, the place where n-tier is most fruitful is the where it produces or reveals contradictions. While some works of electronic literature lend themselves to clear divisions between parts of the information system, many works in electronic literature complicate that very distinction as articulated in such essays as Rita Raley’s code.surface||code.depth, in which she traces out codeworks that challenge distinctions between presentation and processing layers. In the works of Mez (Maryanne Breeze), she creates works written in what N. Katherine Hayles has called a creole of computer and human languages. Mez, and other codework authors, display the data layer on the presentation layer. One critical response is to point out that as an information system, the presentation layer are the lines of code and the rest of the system is whatever medium is displaying her poem. However, such an approach missed the very complexity of Mez’s work. Indeed, Mez’s work is often traditional static text that puts users in the role of the processor. The n-tier model illuminates her sleight of hand. trEm[d]o[lls]r_ [by Mez] doll_tre[ru]mor[s] = var=’msg’ val=’YourPleading’/> † TREMOR Consider her short codework â€Å"trEm[d]o[lls]r_† published on her site and on the Critical Code Studies blog. It is a program that seems to describe (or self-define) the birth pangs of a new world. The work, written in what appears to be XML, cannot function by itself. It appears to assign a value to a variable named â€Å"doll_tre[ru]mor[s]†, a Mez-ian (Mezozoic?) portmenteau of doll_tremors and rumors. This particular rumor beign defined is called, the fifth world, which calls up images of the Native American belief in a the perfected world coming to replace our current fourth world. This belief appears most readily in the Hopi tribe of North America. A child of this fifth world are â€Å"fractures,† or put another way, the tremor of the coming world brings with it fractures. The first, post 2 inscription, contains polymers: a user set to â€Å"YourDollUserName,† a â€Å"3rdperson† set to â€Å"Your3rdPerson,† a location set to â€Å"YourSoddenSelf†, and a â€Å"spikey† set to â€Å"YourSpiKeySelf.† The user then becomes a molecule name within the fracture, a component of the fracture. These references to dolls and 3rd person seem to evoke the world of avatars. In virtual worlds, users have dolls. If the first fracture is located in the avatar of the person, in their avatar, the second centers on communication from this person or user. Here the user is defined with â€Å"YourPolyannaUserName,† and we are in the world of overreaching optimism, in the face of a â€Å"msg† or message of â€Å"YourPleading† and a â€Å"lastword.† Combining these two fractures we have a sodden and spikey self pleading and uttering a last word presumably before the coming rupture into the fifth world. As with many codeworks, the presentation layer appears to be the data and logic layer. However, there is clearly another logic layer that makes these words appear on whatever inerface the reader is using. Thus, the presentation layer is a deception, a challenge to the very division of layers, a revelation that hides. At the same time, we are compelled to execute the presneted code by tracing out its logic. We must take the place of the compiler with the understanding that the coding structures are also  meant to launch or allusive subroutines, that part of our brain that is constantly listening for echoes and whispers To produce that reading, we have had to execute that poem, at least step through it, acting as the processor. In the process of writing poetic works as data, she has swapped our traditional position vis-a-vis n-tier systems. Where traditional poetry establishes idenitity through I’s, Mez has us identify with a system ready to process the user who is not ready for the fifth world, whatever that may bring. At the same time, universal or even mythical realities have been systematized or simulated. There is another layer of data that is missing, supplied by the user presumably. The poem leaves its tremors in a state of potential, waiting to operate in the context of a larger system and waiting for a user to supply the names, pleading, and lastwords. The codework means nothing to the computer. This is not to make some sort of Searlean intervention about the inability of computers to comprehend but to point out that Mez’s code is not valid XML. Of course, Mez is not writing for computer validation but instead relies on the less systematic processing of humans who rely on a far less rigorously specified language structure. Tremors fracture even the process of assigning some signified to these doll_tre[ru]mor[s]. Mez’s poem plays upon the layers of n-tier, exposing them and inverting them. Through the close-reading tools of Critical Code Studies, we can get to her inference and innuendo. However, we should not miss the central irony of the work, the data that is hidden, the notable lack of processing performed by this piece. Mez has hailed us into the system, and our compliance, begins the tremors that brings about this fifth world even as it lies in potential. N-tier is not the fifth world of interpretation. However, it is a tremor of recognition that literacy in information systems offers a critical awareness crucial in these emerging forms of literature. FUTURE PROJECTS Two new projects give the sense of the electronic literature to come. The authors of this paper have been collaborating to create systems that answer Hayles’ call at â€Å"The Future of Electronic Literature† in Maryland to create works that move beyond the desktop. The â€Å"Global Poetic System† and â€Å"The LA Flood Project† combine GPS, literary texts, and civic spaces to create art objects that rely on a complex relationship between various pieces of software and hardware, from mobile phones to PBX telephony to satellite technology. To fully discuss such works with the same approaches we apply to video games or Flash-based literary works is to miss this intricate interaction. However, n-tier provides a scalable framework for discussing the complex networking of systems to produce an artistic experience through software and hardware. These projects explore four types of interfaces (mobile phones, PDAs, desktop clients, and web applications) and three ways of reading (literary adaptative texts, literary classic texts, texts constructed from the interaction of the community). The central piece that glues together literary information is geolocation. When the interactor in the world is one of the input systems, critics need a framework that can handle complexity. Because of the heterogeneity of platforms in which these systems run, there are multiple presentation layers (e.g. phone, laptop, etc.), multiple parallel processing layers, and multiple sources of information (e.g. weather, traffic, literary content, user routes, etc.), thus requiring a n-tier approach for analysis and implementation. It is clear that as electronic literature becomes more complex, knowledge of the n-tier dilineations will be crucial not only to the reception but also the production of such works. Since the interaction of heterogenous systems is the state of our world, an n-tier approach will up critics to open up these works in ways that help identify patterns and systems in our lives. DISCUSSION Let us bring down the great walls of neologisms. Let us pause for reflection  in the race for newer new media. Let us collaborate on the n-tiers of information systems to create robust writing forms and the possibility of a extending the audiences that are literate in these systems. In this paper, we have described an analytical framework that is useful to divide works of electronic literature into their forming elements, in such a way that is coherent with advances in computer science and information technology, and at the same time using a language that could be easily adopted by the electronic literature community. This framework places creators, technicians, and critics on common ground. This field does not have a unified method to analyze creative works; this void is a result, perhaps, in the conviction that works of electronic literature require an element of newness and a reinvention of paradigms with every new piece. Critics are always looking for innovation. However, the unrestrained celebration of the new or novel has lead New Media to the aesthetic equivalent of an arms race. In this article we found common elements to all these pieces, bridging the gap between computer science and electronic literature with the hopes of encouraging the production of sustainable new forms, be they â€Å"stand alone† or composed of a conglomeration of media forms, software, and users. As works of electronic literature continue to become more complex, bringing together more heterogeneous digital forms, the n-tier model will prove scalable and nuanced to help describe each layer of the work without forcing it into a pre-set positions for the sake of theory. We have to ask at this point: how does this framework handle exceptions and increasing complexity? It is interesting to consider how the proposed n-tier model might be adapted to cope with dynamic data, which seems to be the most complex case. Current literary works tend to process a fixed set of data, generated by the author; it is the mode of traversing what changes. Several software solutions may be used to solve the issue of how this traversal is left in the hands of the user or mediated yet in some way by the author through the presentation system. The n-tier model provides a way of identifying three basic ingredients: the data to be traversed, the logic for deciding how to  traverse them, and the presentation which conveys to the user the selected portions at the selected moments. In this way, such systems give the impression that the reader is shaping the literary work by his/her actions. Yet this, in the simple configuration, is just an illusion. In following the labyrinth set out by the author, readers may feel that their journey through it is always being built anew. But the labyrinth itself is already fixed. Consider what would happen when these systems leave computer screens and move into the world of mobile devices and ubiquitous art as Hayles predicted they would at the 2007 ELO conference. How could the system cope with changing data, with a labyrinth that rebuilds itself differently each time based on the path of the user? In this endeavor, we would be shifting an increasing responsibility into the machine which is running the work. The data need not be modified by the system itself. A simple initial approach might be to allow a subset of the data to be drawn from the real environment outside the literary work. This would introduce a measure of uncertainty into the set of possible situations that the user and the system will be faced with. And it would force the author to consider a much wider range of alternative situations and/or means of solving them. Interesting initiatives along these lines might be found in the various systems that combine literary material with real-world information by using, for example, mobile hand-held devices, provided with means of geolocation and networking. With respect to the n-tier model, the changes introduced in the data layer would force additional changes in the other layers. The process layer would grow in complexity to acquire the ability to react to the different possible changes in the data layer. It could be possible for the process layer to absorb all the required changes, while retaining a version of the presentation layer similar to the one used when dealing with static data. However, this may put a heavy load on the process layer, which may result in a slightly clumsy presentation. The clumsiness would be perceived by the reader as a slight imbalance between the dynamic content being presented and the static means used for presenting it. The breaking point would be reached when readers become aware that the material they are receiving is being presented inadequately, and it is apparent that there might have been better  ways of presenting it. In these cases, a more complex presentation layer is also required. In all cases, to enable the computer to deal with the new type of situations would require the programmer to encode some means of appreciating the material that is being handled, and some means of automatically converting it into a adequate format for communicating it to the user. In these task, current research into knowledge representation, natural language understanding, and natural language generation may provide very interesting tools. But, again, these tools would exist in processing layers, and would be dependent on data layers, so the n-tier model would still apply. The n-tier information system approach remains valid even in the most marginal cases. It promises to provide a unified framework of analysis for the field of electronic literature. 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