The Point

The Point-Counterpoint of Jan Steen Essay During the 17th century, Dutch genre painting flourished, appealing to middle class patrons by depicting everyday life with charm and often a moral. Jan Steen was among the most successful genre painters, weaving witty commentary into his pictures of merriment. Rhetoricians at a Window, c. 1661-1666 (oil on canvas, 29 7/8 x 23 1/16 inches) serves as an exemplar, depicting a naturalistic scene combined with layers of meaning. Even the title may be read on many levels. Just as a rhetorician may refer to an eloquent speaker, so, too, may it allude to a pompous or bombastic person. Rhetorician also conjures up the notion of rhetoric, or the act of making a persuasive argument based on a point and counterpoint structure. This painting cleverly provides several layers of point-counterpoint arguments revealed through visual analysis, careful reading of physiognomy of the figures, and assessing the composition as a whole, including how it engages the viewer. Visually, Steen presents a naturalistic scene set in a tavern or inn, believable in its details. Four prominent figures are easily readable, not cartoonish or types, but portrayed with individualistic features. We will write a custom essay on The Point-Counterpoint of Jan Steen specifically for you for only $16.38 $13.9/page Order now Two more shadowy figures emerge from the background. The four figures up front are framed in a window that fills the upper 2/3 of the painting, pushed forward in shallow space to the picture plane. The location is identifiable as a public place where drink is served by the prominent, diamond-shaped sign, nailed to the window frame just off center, hanging in the lower third of the painting. The sign features crossed swords, common symbols for power, protection, justice, courage, and strength. Here, the crossed swords also serve as an apt emblem for the crossed arguments of the point and counterpoint of rhetoric. Across the top of the painting is a swag of grapevine, with a bunch of grapes just right of center and another bunch on the far left, as the vine tumbles down the left window frame. The lively swoop of the grapevine softens the strong geometry of the rest of the composition. The window dominates the frame and is comprised of a central cross inside its rectangular shape, suggesting the possibility of a moral at the center of this story. The cross also implies a crossroad, choices to be made when a point and counterpoint intersect. Both the top of the window’s rectangle and the bottom of the sign’s diamond are cropped out of the picture, creating an immediacy and aliveness of a zoomed-in vantage point. The diamond of the sign is mirrored in diamond-shaped leaded glass in the top two quadrants of the cross. Close examination reveals that two of the panes are broken, perhaps by revelers inside. The brick structure of the building adds more geometry with stabilizing verticals and dominant horizontals, which buttress the horizontal window ledge. The colors are earthy and muted, reflecting the earthy scene. The red velvety cap of a figure just right of center immediately attracts attention, but the rest of the palette is marked by shades of brown, golden yellow, and soft green. The bricks appear textural, accomplished through illusionistic shadow in the mortar to suggest depth, and laying down smooth layers of multiple color, with oranges and greens highlighting the tans and browns, as if the architecture were alive and organic, changing colors over time. The sign’s diamond frame is matted in deep brown, mustard yellow and rust, indicating a place of lusty, earthy pursuits. The day is warm enough for the shutters to be open, revealing the scene, yet the hint of color on the grapevine and a bare branch to the right suggest the transformations of autumn. As the leaves turn colors and fall, Steen hints at the passage of seasons, time, and life. Steen’s attention to detail is not overworked and suits the scene. Paint is laid smoothly, and up close, individual strokes are apparent. But only the faces of the figures are detailed. .u7e265f73193b452347380a8d67f19ae7 , .u7e265f73193b452347380a8d67f19ae7 .postImageUrl , .u7e265f73193b452347380a8d67f19ae7 .centered-text-area { min-height: 80px; position: relative; } .u7e265f73193b452347380a8d67f19ae7 , .u7e265f73193b452347380a8d67f19ae7:hover , .u7e265f73193b452347380a8d67f19ae7:visited , .u7e265f73193b452347380a8d67f19ae7:active { border:0!important; } .u7e265f73193b452347380a8d67f19ae7 .clearfix:after { content: ""; display: table; clear: both; } .u7e265f73193b452347380a8d67f19ae7 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u7e265f73193b452347380a8d67f19ae7:active , .u7e265f73193b452347380a8d67f19ae7:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u7e265f73193b452347380a8d67f19ae7 .centered-text-area { width: 100%; position: relative ; } .u7e265f73193b452347380a8d67f19ae7 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u7e265f73193b452347380a8d67f19ae7 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u7e265f73193b452347380a8d67f19ae7 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u7e265f73193b452347380a8d67f19ae7:hover .ctaButton { background-color: #34495E!important; } .u7e265f73193b452347380a8d67f19ae7 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u7e265f73193b452347380a8d67f19ae7 .u7e265f73193b452347380a8d67f19ae7-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u7e265f73193b452347380a8d67f19ae7:after { content: ""; display: block; clear: both; } READ: Mask Sorry by Natalia Nesterova EssayWhile the hands of the up front figures hint at tendons and veins without being meticulous, the hands of the figures behind are crudely drawn, suggesting their crude activities. Long brushstrokes create the simple clothing of the figures. Their plainness suggests the men are middle or laborer class. Just as Steen carefully chooses what to depict with detail, so, too, does he use frames within frames as a deliberate device. In addition to filling the picture frame with a close up of the scene, Steen also creates another frame with the window, where the figures congregate. Each quadrant of the window creates frames, with the two lower quadrants filled by the men. Three figures break the window frame illusionistically. One on the left leans out the window, with his elbow over the ledge, while another on the right rests his head on his hand, elbow perched on the window frame. A standing figure on the right, grasps the central frame, joining the two quadrants with a v-shaped arm. Separating the figures by the construction of the crossed window frame suggests that they represent different points and counterpoints. Each figure has a narrative, with a distinctive face and gestures full of information. The man on the left leaning out the window, with a pince-nez perched on his bulbous nose, forehead highlighted by an unseen, somewhat ambiguous light source, holds a sheet with writing just discernible. It may read â€Å"List,† and with his heart shaped mouth open and smiling, he acts as a rhetorician reading the paper’s list. His merriment suggests he is not the author of the article, or if he is, he satirizes another’s words. In his cotton shirtsleeves and leather vest, with a starched collar (though not the elegant gathered ruff), this man appears the most affluent of those gathered. His mirthful, or perhaps sarcastic, reading of the tract commands attention. The man behind him, mouth open, perhaps also speaking, seems both serious and willing to follow the orator. In the rear is a man, head tipped all the way back, downing a drink with no refinement or subtlety, light just catching the rim of the glass. In the right hand quadrant, the narratives become more subtle. In front, the figure leaning on his hand, grasps an enormous tankard, brightly lit from the left, with his other. His large nose is also highlighted, as if projecting the effect of the former on the latter. The look on his face suggests that even though he is listening to the reading, he is bored, as if he has heard it all before, and feels condescension for the speaker whom he considers a blowhard. The drink in the tankard will see him through. The pipe, an unused source of pleasure tucked in his jaunty hat brim, points with its bowl in a strong diagonal away from the scene, where for him, life may be more amusing. In contrast to his airs, the seam of his jacket sleeve has split. Just behind him is the standing figure whose ruddy complexion also suggests familiarity with drink. His red, velveteen turban, with its wispy feather, appears flamboyant enough to suggest the artist himself and similar to one used in his self-portrait. The headgear may be tipped with metal bells, so that Steen cleverly positions himself as the wise Shakespearean fool. This figure is the only one who acknowledges the viewer, and his red cap makes him hard to ignore. His direct gaze marked by a white daub of paint creating a twinkle, along with his sly grin and upraised finger pointing vaguely toward the viewer, all seem to say, â€Å"see, I told you. This directness brings the viewer into the scene as an invited guest of the artist and into the argument about its meaning. The figure seems to raise the question of who is the fool here? He may dress the part, but he instructs the viewer to consider the folly of the orator who seems so confident in his mirth. The title refers to Rhetoricians, plural, so that not only is the speaker a rhetorician, but so too is the standing figure, who argues a point of view. With the direct gaze of the figure and the head on vantage point of the scene, the viewer is perhaps placed in a window across the alley. .udfb5cf6a5236a680b5a01d03ac8849e1 , .udfb5cf6a5236a680b5a01d03ac8849e1 .postImageUrl , .udfb5cf6a5236a680b5a01d03ac8849e1 .centered-text-area { min-height: 80px; position: relative; } .udfb5cf6a5236a680b5a01d03ac8849e1 , .udfb5cf6a5236a680b5a01d03ac8849e1:hover , .udfb5cf6a5236a680b5a01d03ac8849e1:visited , .udfb5cf6a5236a680b5a01d03ac8849e1:active { border:0!important; } .udfb5cf6a5236a680b5a01d03ac8849e1 .clearfix:after { content: ""; display: table; clear: both; } .udfb5cf6a5236a680b5a01d03ac8849e1 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .udfb5cf6a5236a680b5a01d03ac8849e1:active , .udfb5cf6a5236a680b5a01d03ac8849e1:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .udfb5cf6a5236a680b5a01d03ac8849e1 .centered-text-area { width: 100%; position: relative ; } .udfb5cf6a5236a680b5a01d03ac8849e1 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .udfb5cf6a5236a680b5a01d03ac8849e1 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .udfb5cf6a5236a680b5a01d03ac8849e1 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .udfb5cf6a5236a680b5a01d03ac8849e1:hover .ctaButton { background-color: #34495E!important; } .udfb5cf6a5236a680b5a01d03ac8849e1 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .udfb5cf6a5236a680b5a01d03ac8849e1 .udfb5cf6a5236a680b5a01d03ac8849e1-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .udfb5cf6a5236a680b5a01d03ac8849e1:after { content: ""; display: block; clear: both; } READ: Comparing "Arts of the Contact Zone" EssayThe speaker is reading the tract for the viewer’s edification. The viewer makes a choice-to stay separate or become another rhetorician at a window. Since the viewer stands on the same side with the light source, Steen suggests that the viewer has the knowledge and common sense to make a good choice. The viewer is also given the choice about who to believe-the figures on the left or the figures to the right. Steen argues his own position. The standing figure breaks the boundary between the two quadrants, but stands firmly on the right. The sign and the bunch of grapes in the vine just above are both off center, favoring the right. The heads of the figures on the left form an arrow pointing toward the right, while the figures on the right make an upright â€Å"v† with the inclusion of a ghostly specter of a figure behind. These visual cues invite the viewer to take a position, to follow the lead of the standing, all-knowing fool. The painting then sets up a tension of right and left, wise and foolish, knowing and ignorant, insightful and oblivious. This duality coincides with the rhetoric of persuasive argument, point and counterpoint. The crossed swords of the sign are presented as a challenge of the counterpoint to the point, while also advocating that the viewer be courageous and take a stand. Steen wittily argues that each person makes choices about how to face life’s challenges-to drink oneself into oblivion, to mock life, to follow without thought, to be bored and judgmental, or to laugh at the folly of mankind. On the one hand, the left quadrant argues for merry making with drink and ideas. No idea is so important it cannot be laughed at and questioned. On the other side, the right presents doubters, naysayers, and those who laugh at it all. The vertical that divides the two poles of argument seems unyielding, yet the clever man can reach around and grab the best of both, uniting the laughter. The grapevine seconds the fool’s implication that life is full of the folly of man. The vine’s subtly highlighted leaves transition from the green of summer, color fading before the viewer’s eyes, into the golden tones of autumn. The grapevine’s message is that the party is coming to its seasonal end, just as folly in the moment will also pass as the seasons’ turn. It sweeps across the picture and down, transcending and unifying any artificial boundaries, creating a curtain that reveals the stage set of the scene. The viewer is reminded that the frame, that is the painting, and its visual elements are theatrical and artificial. Steen again seems to reference Shakespeare with â€Å"all the world’s a stage,† and as life passes by, enjoy the moments full of frivolity and foolishness. Steen as rhetorician argues that the party of life will come to an end. In the meantime, the unifying grapevine tops it all, reminding the viewer to make merry, a message that no doubt appealed to middle class art patrons. The viewer can make sense of what is shown, assess the moral implications, and take a stand. Like the fool, the viewer can embrace both sides of life, with all its contradictions. Living a moral life does not preclude having pleasures. Steen points to the viewer and encourages living a good life, but full of joy in the moment. Laugh, and become a rhetorician looking out the window on life.

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Advanced logistics is the term used when the firms make use of technologies and permits to reduce costs by substituting large inventories, multiple warehouses and customer service outlets with transportation, e-commerce and just-in-time deliveries. To reap the benefits of advanced logistics, firms have restructured themselves in relation to transporting of goods from one point to another and improving infrastructure. During the 1970s typical logistics functions focused on traditional physical distribution activities, including the movement and storage of finished goods between the producer and consumer. Those specific functions were identified in the 1985 A.T. Kearney study of logistics organizations as outbound transportation, logistics administration, intracompany transportation, logistics control, finished goods field warehousing, and logistics systems planning. These activities were eventually determined to be quite narrow in terms of meeting customer needs. Therefore, they provided the foundation for broader interpretation of logistics, which led to inclusion of various activities like the processing of orders and development of customer relations, finished goods plant warehousing, finished goods inventory management, and inbound transportation. The third phase in this evolutionary process was identified to include logistics engineering, production planning, sourcing or purchasing, raw mater ials or work-in-process inventory management, sales forecasting, and international logistics. This evolutionary process moves logistics from its traditional physical responsibility to an integrative value added role in the business. As logistics becomes more important in an organization, it encompasses more functional areas within a single responsibility center to provide more coordination and more highly integrate the logistics channel. 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This can result in customer satisfaction, which can ultimately lead to a positive attitude by the customer towards the service provider. The value of the logistics service provided is measured by an assessment of the logistics executives perception of how customers perceive the service provided by the firm and how they react, or respond to this service. This measure, called customer reaction, include the level of perceived satisfaction with the existing service levels, whether customers are inclined to reduce or increase their business with the firm if the service levels change relative to their expectations, and whether customers can recognize change s in the service levels provided by the firm. These days, the commercial success of a logistics operation could stem from a productivity advantage in traditional cargo-handling service, from value-added service, or from a combination of the two. Productivity advantages come mainly from economies of scale and economies of scope, suggesting that the most productive ports will be those that are equipped to handle large cargo volumes and significantly reduce unit costs through efficient management. Shippers and carriers select individual ports not only based on their cargo handling service capabilities, but also on the benefits they are capable of delivering. Unless a port can deliver benefits that are superior to those provided by its competitors in a functional aspect, customers are likely to select logistics providers based merely on price. This fact raises the question of how to one logistics company can stand out from the rest of the companies that are in the market or what is known to be value differentiation. In the 1970s, almost every logistics company provided the same basic package of services to almost every customer. Nowadays, however, it is more difficult for service providers to compete on the basis of cargo-handling service. There has been a convergence of technology within cargo-handling service categories. This means that though new technology may sometimes provide a window of opportunity for productivity improvement, in many cases that same technology is also available to competitors. It is no longer possible to compete effectively on the basis of basic, traditional functions. Thus, there is a need for logistics service providers to seek out new means of gaining a competitive edge. The late 1980s saw the emergence of major changes. Consumers began to ask service providers to provide a greater variety of services. Providing value-added services is a powerful way for logistics companies to build a sustainable competitive advantage. Shippers and customers are becoming increasingly demanding. Customers now tend to look at value-added logistics services as an integral part of their supply chain. As a result, service providers must attempt to satisfy these needs by offering differentiated services. This poses a particular challenge for logistics operators in the industry. Studies show that the most successful logistics service providers are those that not only have a productivity advantage in cargo-handling services, but that also offer value-added services because operators who do not provide additional services are indistinguishable to their competitors. Although there have been researches that have found that there continues to be a need for operators to provide the basic, traditional cargo-handling function and that there continue to be many customers for such services, it is clear that, in the future of the logistics operations industry, there will be fewer ports that prosper only in this area. Rather, we will see the dominance of superior service leaders that possess both a productivity advantage and a value-added service advantage. Logistics companies that provide value-added services are on their way to becoming the more superior logistics company. The advanced ports around the world have continuously emphasized the function of logistics centres mainly due to the high degree of global production and the need for value added services. These trends in international logistics strongly suggest that the trend toward value added services is likely to continue into the future. Currently, the logistics discipline continues to revolutionize itself with the adaptation of various e-business practices and forms of just in time delivery. The nature of these adjustments may result to more single package deliveries requiring additional transport services. KEY RECOMMENDATIONS Therefore, for logistic operations to have an edge, it is recommended that logistics companies incorporate valued added services to the array of services that they provide in a matter that is cost efficient. There is also a need for service providers to be able to offer services of high quality and as well as cost reducing solutions. Service providers must also take a closer look at the activities in operations and ensure that there are no repetitions of activities for maximum optimization. The elimination of redundant activities results in more efficiency and cost reductions. Providing trainings for inexperienced personnel is also vital in achieving maximum customer satisfaction in the future. The ultimate output of the quality effort by the logistics organization should be through the customers reaction in the market. This reaction is continually perceived by the logistics executive in the form of individual customer sales, business in specific traffic lanes, changes in facility in ventory levels, or changes in the volume of customer complaints to the customer service department. However, the simple truth is that when you are processing thousands of cases an hour and shipping dozens of trailers per day, there just isnt a lot of time for value added services, especially that which doesnt provide real benefit. In the end engaging in value added services is a business decision. A customer can be told that the service provider can do just about anything they want, but the customer must also know that its not free. Value added services make the services provided by the logistics service providers more expensive. The customer needs to gauge how important it is to its business. Sometimes retailers are surprised that their requests dont add any value. As an example, in a certain logistics company, one Vice President of Operations, described a situation where an existing customer ordered standard 12 packs last year, however this year all their orders were in 6 packs. The Operations VP went back to the customer explaining that when youre handling 80,000 cases verses 40 ,000 there is a big difference in handling and processing cost. That particular customer understood the logistics cost impact for the DC, as well as for them, and immediately changed their Purchase Order back to 12 packs. Still, for some companies the consequences of value added services have been more frequent shipments and in smaller quantities, forcing many of them into piece-pick operations where they had previously been a full case-based pick. Or, at the very least, having to open full cases to apply tickets and other paperwork and then manually applying a special shipping label.    If it is determined that the cost absorption for a specified value added service is too great, the logistics company has the option to try and work out a deal with the customer to obtain waivers, or in some extreme situations refuse to comply. On the other hand, a major component of an efficient supply chain is getting everything done on the first touch. Therefore, it can be logically argued that in many cases moving value added services upstream to the manufacturing level is moving it in the right direction. à ¢Ã¢â€š ¬Ã‚ ¢

The Giver :: Giver Essays

The Giver onas lives in a "perfect" world where war, disease, and suffering have all been eradicated. Everything is in order; everything is under control. The people have no worries or cares. The Community strives for "sameness," in which everyone and everything are the same and equal. To help the Community function as a cohesive unit, each member is assigned a position in society. When Jonas turns twelve, the Community selects him to be the new "Receiver of Memories." Only the "Giver" knows the truth and memories of the past, and now he must pass these memories on to Jonas. The Giver is a wonderful book. Lois Lowry skillfully crafted an intriguing and profoundly thoughtful story. She subtly creates an uneasy feeling that something is wrong with this "perfect world." The Community's advisors intend to establish security within utopian society, but they really establish a stifling dystopia. To protect people from the risks of making poor or wrong decisions in life, the advisors plan and dictate the lives of the people. In effect, the citizens have no freedom of choice; they do not choose their job or even their spouse. Moreover, the advisors inhibit the people's ability to feel because they want to spare them from the hardships and pain of life. For instance, individuals must take a pill everyday, which suppresses passionate feelings. The citizens do not know or experience true emotions like love. One of the goals of the Community is to achieve "sameness" so that no one feels embarrassed or gets excluded for being different. However, this limi ts individuality and freedom of expression because everyone conforms to a certain desired image. Finally, to relieve the population of the horrors and devastation of the world and the past, the advisors isolate the Community from the rest of the world (also known as "Elsewhere) and give the burden of holding the memories of the past to a single member of society: the "Receiver." Therefore, the Community lives only in the present, and the people have a narrow perspective of life because they only know their community and way of life. They are naive; they do not gain knowledge or wisdom from the memories. While receiving the memories, Jonas learns a different and better way to live and realizes what he and the Community have been missing.

A Thief of Time Essay

In Tony Hillermans’ story, â€Å"A Thief of Time† (Hillerman, 2002) the author tells about murder and vanishings of people as Navaho detectives, Lieutenant Joe Leaphorn and Officer Jim Chee search for answers as to why, on the Indian grounds, that people are vanishing and why a well-known anthropologist is missing. Fear encompasses the tale of the ancient Indian grounds where detectives take center stage in looking for clues in the buried ruins that has caused so much confusion. When the backhoe is missing, this mysterious event sets Jim Chee in motion as he tries to uncover what really happened and he won’t stop until he finds the reason. His partner in this bizarre mystery is still coping with the loss of his spouse. Joe Leaphorn just wants to complete one more detective job before retirement. The younger officer; Chee isn’t ready for any type of quitting. Chee is excited about the fact that he may uncover something that includes not only the theft of the backhoe, but he is serious about uncovering the reason that two men have disappeared. Native Americans remain mysterious but the author tries to bring to life, what their true objectives are in this story. The Navaho detectives demonstrate their deep desire to do what is right in this story and offer us a good look into the lives of the Navaho Indian culture. The rummaging through the Indian grounds, unearths many various descriptions of what it’s like to live as a Navaho Indian and as these charming detectives did deep into the ground as they search for missing bodies and mechanical equipment, they discover a mystery that is worth looking into. Reference Page Hillerman, Tony. (2002) A Thief of Time. Harper Collins.

Research Paper Final Draft

Research Paper Final Draft Research Paper Final Draft Maria Flemming Ms. Stanek Honors English 10 12 January 2011 Smoking Bans: A Necessity Last year, tobacco consumption was blamed for fifty billion dollars in direct health care costs by anti-smoking organizations as well as one hundred billion dollars that was lost in productivity (Parrish). The smoking bans that have already been implemented help everything from the natural environment to the smokers themselves. Secondhand smoking is breathing the smoke from another person’s cigarettes, or breathing the smoke that the smoker exhales (Bailey, Sprague). Secondhand smoke greatly affects children and can cause them to develop permanent health problems. Adults are also affected; thousands of adults die each year because of the dangerous, but preventable effects of secondhand smoke. It might seem that smoking bans would drive some people away from businesses, but in fact, the opposite is true (Bailey, Sprague). All over the world, groups have been working to decrease smoking in public places. Smoking bans should be implemented in publ ic places because both the general population and businesses are in favor of the bans. This is because of the many negative health effects associated with secondhand smoke. First of all, smoking bans have already started to help. After Ireland passed several smoking bans, the amount of nicotine and carbon monoxide in the air decreased by more than eighty percent (â€Å"Europe†). In 2003, New York City was one of the first cities to ban public smoking; according to a study conducted by the Health Department, the improvement in air quality was almost immediate (Isralowitz). Alex Rich states in his article that, â€Å" Many smokers who are trying to quit have found that bans have aided in this effort by 'de-normalizing' the behavior and limiting the places they are allowed to light up. In fact, smoking bans have resulted in decreased tobacco consumption in some areas by as much as 10 percent† (Rich, Griswold). Therefore, bans help smokers to become healthier by decreasing the amount of smoking they can do. There are an overwhelming number of negative effects when people smoke in public places. Children are the most affected by secondhand smoke. In 2009, statistics showed that more women are smoking and as many as seven-hundred million children are exposed to secondhand smoke each year (Bailey, Sprague). Children and infants are greatly affected because their body systems are not yet fully developed (Rich, Griswold). For instance, one effect of secondhand smoke exposure is fluid building up in the middle ear, which causes a middle ear infection (Parrish). The biggest reason children are hospitalized each year is because of middle ear infections (Parrish). Secondhand smoke also affects a child’s teeth (Bailey, Sprague). According to the Academy of General Dentistry, children that breathe secondhand smoke regularly develop their permanent teeth about four months later than children not exposed to the smoke (Parrish). Even if someone only breathes a small amount of secondhand smoke at one time, the risk of developing heart disease increases by twenty-five to thirty percent (Isralowitz). Because the bodie s of young people are still forming, people under the age of eighteen are not permitted to buy cigarettes (Bailey, Sprague). If a young person smokes, it can permanently damage their lungs and cause pneumonia, asthma, and bronchitis (Rich and Griswold). Secondhand smoke is also related to Sudden Infant Death Syndrome (SIDS) (Isralowitz). If a woman is exposed to secondhand smoke while she is pregnant, her child is more likely to show symptoms of Attention Deficit Hyperactivity Disorder (ADHD), than a child that was not exposed the chemicals in secondhand smoke (Parrish). Approximately 150,000 to 300,000 children also develop lower respiratory tract infections because of the smoke (Parrish). A good reason to ban smoking in public places is to keep children safe. In many of the same ways,

Art in Modern Times

Art in Modern Times The first article is authored by Michael Fried and it explores the form of the photograph. The article begins by discussing the nature of still-life paintings. The paper also looks into the views of some art critics concerning still-life art pieces.Advertising We will write a custom essay sample on Art in Modern Times specifically for you for only $16.05 $11/page Learn More According to the author, visual art gives several but particular impressions to the viewer. Consequently, painters are more aware of the ‘expected’ end results than they were in the past. The article proposes that for artists to avoid looking like they are trying too much to produce an ‘effect’, they have to try to ‘do nothing’. The author concludes by exploring the issue of absorption and invisibility in the interpretation of photographs. The other article is authored by Nicholas Brown and it forwards the argument that artwork is just like any other commodity. The article begins by exploring an excerpt by Karl Marx and then continues to outline the roles of art buyers and sellers. The element of satisfaction and its relation to commodity exchange in the art market is explored by the author. Art as a commodity that can be sold and purchased applies to culture and its capital value. According to the author of this article, the commodity market leads to self-representation. Consequently, it has been argued that most of modern art is produced under restrictive environments. The lack of ‘real subsumption’ is a factor that has affected art in modern times. This paper is a discussion of the arguments that are presented by both articles concerning art in modern times.  The place of art in modern times is adequately investigated by Michaels in his article. One of the most prominent arguments in the first article is the connection between still-life art and photographs. According to the author, the photograph is a represe ntation of the Diderotian still life (Michaels 1). In this regard, photographers are nowadays regarded as artists.Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More However, the claim that photographers are a part of the fine art community has been challenged by several stakeholders. The main opposition against photography being an art form is based on the argument that photographs do not carry with them the adequate ‘intentional meaning’. The argument against legitimacy of photographs as a form of fine art is still debatable. Most art scholars are of the opinion that photographs are not art because they ‘capture’ rather than ‘convey’ meanings. This argument is quite solid especially in an age where photographs and videos have bombarded everyday art life. Consequently, admitting photographs into the category of fine arts would saturate the market wi th a ‘shaky’ art form. For instance, the intention of modern photography is to present audiences with products that are pleasing to the eyes.  The argument of most art scholars is that art should carry ‘intentional meaning’ (Michaels 4). Michaels also explores the idea of ‘art and objecthood’ in a modern context. According to the author, in the past art has responded to ‘theatricality, minimalism, postmodernism, and literalism’ (Michaels 5). Consequently, art and objecthood makes the silent nature of photographs to be ‘artistic’ in translation. Nevertheless, the author notes that the objecthood of various forms of art varies.  On the other hand, the author of the second article uses Marxist arguments about commodities and the market place to explore the place of art in modern times. According to Marx, whenever the element of money is featured in a transaction, the most important relationship is between the artist a nd the market (Brown 1). This argument is quite interesting because it covers a large part of modern culture. For instance, some paintings can fetch millions of dollars in the market while others only sell for a few hundred. After a close investigation, one might find that the quality of the materials that is used to make both paintings is similar.Advertising We will write a custom essay sample on Art in Modern Times specifically for you for only $16.05 $11/page Learn More However, one painting becomes very appealing to the buyers while the other one is hard to sell. Naturally, the artist will seek to find out what appeals to the buyers during art auctions. In the process, the artist will abandon his/her self-expression in favor of the tastes of the buyers. This argument appears simple to most people. However, given the capitalistic nature of the modern art industry, this argument is quite significant. The author solidifies this argument by explaining that modern artists only strive to produce products that are of value to others and not to themselves. Both authors reckon that art has changed over the course of time. For Fried, the proof is in the fact that the consideration of photographs as a form of art is commonly debated in modern art circles. On the other hand, Brown investigates the place of art in the modern capitalistic environment (Brown 2). In both articles, the authors do not offer blanket judgments on the place of art in modern times. However, the authors explore the arguments of other art experts such as Ranciere, Diderot, Robinson Crusoe, and Hegel among others. Both articles discuss modern complexities that characterize modern art. On nature and theatricality, Fried explores Ranciere’s argument that paintings are legitimately artistic because they only imitate non-art without themselves being ’non-art’ items. On the other hand, photographs can be non-art (Michaels 4). This argument was broken down by Fried when he explained that a photograph acts like one of the many items in the world but it does not act like a representation of any of these various objects. This argument is quite similar to Brown’s argument that modern art only exists in a market place. Consequently, art has always been produced in accordance with the needs of the users and not the artists. This argument also translates to the fact that not all art has managed to retain its autonomy in the prevailing market conditions.Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More For Fried, the legitimacy of art depends on its form while for Brown authenticity relies on the intended market (Brown 7). These two arguments focus on the factors that give art a place in modern society.  In both articles, there are several arguments that appeal to art enthusiasts. The argument about photographs being termed as people, places, and objects can resonate with any art scholar. For instance, when most people see the photograph of the president they say that ‘is the president’ instead of using the latter explanation. Therefore, photographs are more like reflections than they are expressions. All these circumstances solidify the argument that photographs do not fit the description of art. Fried’s article is a deep analysis of the form of photographs in relation to art. Previously, art was rarely taken to the market place and in most occasions, the market itself found the art. This interesting argument is contained in Brown’s article. Furthermo re, the author notes that today’s market place is quite competitive as a result of globalization. The article maintains that art has the potential to achieve autonomy in modern times. However, factors such as globalization, capitalism, and mass marketing prevent art from gaining autonomy. Brown’s arguments appeal to art scholars because like Fried’s claims, they provide important points of discussion. Brown, Nicholas. The Work of Art in the Age of its Real Subsumption under Capital. Nonsite, 13 Mar. 2012. Web. Michaels, Walter. Neoliberal Aesthetics: Fried, Rancià ¨re and the Form of the  Photograph. Nonsite, 25 Jan. 2011. Web.

FitMath Essay Example | Topics and Well Written Essays - 5750 words

FitMath - Essay Example According to the research facing the dilemma between scholastic education and extracurricular and health education can be daunting, especially in the light of the impetus to heighten academic performance in schools. FitMath attempts to bridge the gap between physical education and academia by implementing a syllabus involving physical activity, using it as a pathway to reach out to young students who need in so much. FitMath fits Math into the curriculum, allowing students to profit from interdisciplinary learning via health education. In tandem with mathematics, fields such as biology, anatomy, physiology and physics will be open to them. Launched by the US government as a programmed new approach towards education, FitMath’s objectives consist of a merger of â€Å"the guiding principles in the Massachusetts Department of Education Mathematics and Comprehensive Health Curriculum Frameworks, by utilizing aerobics and fitness as a means to support a better understanding of math ematical vocabulary and concepts.† Active participation will bear the fruits of a healthier lifestyle, a more confident perception of one’s own physical abilities and stronger grasp in English Language and Science. To assess the effectiveness of FitMath, researchers have decided to conduct an in-depth survey on the participants of five FitMath centers in Massachusetts. By obtaining quantitative and qualitative data, researchers will have a better understanding of FitMath’s impact on students, staff and families. ... 1.3 Participants Participants in this survey are 200 students, 20 educators and 80 parents of students. The targeted age group for students is 10-15 years (grades 6 to 9). A 50/50 gender distribution between male and female students is preferred for better cohort comparison. Seeing that a wide performance gap exists between ethnicities, both minority and majority students will be approached to take this assessment to determine FitMath’s ability to close the vacuum and equalize achievements. Participants that will be excluded from this study are infrequent attendees that have missed more than a month of work for the year to date. This step has been taken to ensure that respondents have been receiving optimal training from the FitMath program. To protect the identities of assessment takers, surveys have been resubmitted anonymously to ensure that respondents are allowed freedom to express views unhindered, without fear or favor. 1.4 Qualitative study The qualitative component of the study seeks to acquire from respondents their views on school, FitMath, teachers and social development. Opinions gathered are confidential and will only serve to understand social, economical and educational backgrounds of participants. Questions seek to elicit from respondents their own estimation of their social and educational abilities and their perspectives in their core relationships, forming the support network. Data collected here would help boost the knowledge base on student lifestyles that ultimately affect study habits. 1.5 Quantitative study Statistics gleaned are confidential and will only serve to understand social, economical and educational backgrounds of participants. Personal

Gender Revolution in the Latin America Research Paper - 1

Gender Revolution in the Latin America - Research Paper Example Preservation of status quo in Latin politics and economic expansion provided social justice amidst the political crisis. Few revolutions contributed to significant political changes in the 20th century owing to major alterations in economic and social matters. Â  Revolution in the Latin America States arose subsequently to two major occasions which include the Mexican Revolution and the World War I. Despite other nations maintaining the status quo through this major events, the Great War caused the realignment of economies of nations and disrupted the economies of the region. Prior to the war, Europe exported Latin American agrarian revolution products and, as a result, demand for the products kept rising. After the World Wars, the Latin American economy slowed and unending political unrest made a better deal of the region. Heavy and uncontrolled immigration led to alarming rates of population growth. As a result, the urban regions experienced high rates of congestion and therefore increased social problems. As If that did not serve to destabilize the countries, the region arose to the emergence of a newer and dominant superpower, the United States. Â  Unrelenting economic problems in Latin America brought down military governments to the control of the civilians. The resultant human torture and massacres and political killings in the region grabbed the international attention which in turn reinforced the concept of natural law in human rights. However, differences in political opinions and cultural opinions made the enforcement of the law are quite hard due to the different interpretation of components of human rights. Changes in the Latin America society took place gradually over the 20th century. The changes took place because ethnicity, economic class, and gender remain influential. Â  The status of women and their rights changed over time in three phases in the fight for political power.