A Brief History of American Political Parties

One will be making a wrong assumption to believe that the political parties we hear and see today just sprang and start existing in a day. These parties have come a long way and definitely have where they are coming from and where they are going. In this essay, I will attempt a brief and concise of the major political parties in America. This I intend to achieve in the following paragraphs.First, the major political parties that I will focus on in my essay will be the Democratic Party and the Republican Party, not that there are no other political parties but time and space will not allow me to make an exposition into their history. Apart from the Democratic Party and the Republican Party, we have other majority parties like Libertarian Party, the Constitution Party and the Green Party as majority parties.The Democratic Party has come a long way to be the oldest political party in America and is presumably the oldest in the world. Thomas Jefferson and James Madison founded the Democr atic Party in 1792 with other rivals of the then Federalist Party. The party was called Democratic-Republican Party. This was the platform that gave Thomas Jefferson the opportunity to be the Democratic President of the United States in 1800. The list of presidents the Democratic Party has produced is; Thomas Jefferson, James Madison, John Quincy Adams, William J Bryan, Franklin D Roosevelt, John F. Kennedy and Bill Clinton.The Republican Party is the second majority party in America. Anti-slavery expansion activists and modernizers founded it in 1854. The popularity of the Republican Party rose when Abraham Lincoln was voted president to be the foremost Republican president in the America. One notable thing is the role the party played in the American Civil War and Reconstruction. The party has had the seat in the white house under the auspices of Eisenhower, Nixon, Ford, Reagan and Bush. In terms of position, the Republican Party is rather socially conventional and economically to lerant.The Libertarian Party was founded in December of 1971 and is regarded as the third largest party in the United States. The party has its members in public office and is most popular of the other continuing third parties.Another third party that is worth mentioning is the Green Party that was founded in 1984. The philosophies that are linked with this political party are Green Politics, Liberalism and Progressivism. The party gained prominence during the Raphael Nadar’s campaign in 1996 and 2000.Also, it will be important to consider the Constitution Party of America, which was founded in 1992 and was regarded as the U.S. Taxpayers Party but the name of the party was altered in 1999. The party can be credited to have produced a public officer in Montana by the name Rick Jore.Reference:Greenfield, Steve (March 20, 2005) â€Å"The Decline of the Green Party.† CommonDreams.orgwww.prenhall.com/magleby

Innovation and Entrepreneurship

Student: B00227358 University of the West of Scotland Issues Surrounding the Role of Innovation in the Economic Growth Process Introduction The modern world economy shows that the scientific and technological knowledge and innovation are key factors for sustainable economic growth. Much of the competitive advantages that the country holds today derives from the use of scientific knowledge and applied technology become the corporate level to develop new products or services through the management of technological innovation, marketing, and organizational.The world globalization highlights the urgent need for business organizations that produce goods and services for domestic or international market recognize the strategic value of innovation and incorporated into its business management as an instrument or tool that is part of your corporate culture. Innovation is an essential element for any organization in order to survive, grow and significantly influence the direction of any indus try.Development does not; however, guarantee success, but most be followed up with successive streams of innovation and change, from the incremental to the radical. Discussion The most reliable way to be successful in the industry is to innovate better and longer than the competitor, leading companies develops innovation portfolios that they can use to help sustain growth over the long term. Innovation and change is an essential part of any business activity, but only some people recognize its importance and significance.Companies recognize that key factors such as productivity, competitiveness, and productive marketing and organizational efficiency, depend increasingly implement suitable mechanisms to change from the stage knowledge generation (Science and Technology), or import and assimilation of it to the stage of practical application through the process of innovation. In the recent years, entrepreneurship has become the most successful innovation to increase the economical gro wth of the country. Entrepreneurship has long een briefly viewed as a foremost vehicle for financial development and it has captivated investigators from a kind of disciplines with very varied analytical approaches. Audretsch & Thurik, in their paper â€Å"What’s new about the new economy? Sources of growth in the managed and entrepreneurial economies,† demonstrates the change which is being made in the OECD countries. According to them, the reason for this change is the entrepreneurial economy (Audretsch & Thurik, 2001, 267). The paper is an attempt to articulate and identify the differences between the new emerging entrepreneurial economy and the managed economy.According to this paper, there are a total of 14 trade-offs that confronts these two economies. The major economic benefits of European integration will come not through economies of scale, but rather through economies of diversity (Audretsch & Thurik, 2001, 308). The countries that have adopted the entrepren eurial economy have been successful in making additional growth. In another paper, â€Å"Linking entrepreneurship and economic growth,† Wennekers and Thurik looks at the link between the entrepreneurship and the economic growth of a country.The paper concludes that entrepreneurship really matters for the prosperity of a country. In today’s modern world of economics, entrepreneurship plays an essential role in the growth of economy. According to the paper, ICT-revolution and globalization implies the need for a structural change which requires a considerable reallocation of the resources, this increases the demand for entrepreneurship (Wennekers & Thurik, 1999, 140). The Schumpeterian tradition of the analysis which concerns the form, innovation and entrepreneurship is examined in the paper, â€Å"Innovation, entrepreneurship and the firm: a post-Schumpeterian approach. Burton proposes a post- Schumpeterian framework as a remedy for the defects in the Schumpeterian fra mework. The framework presented by Burton is based on four main elements Diffused Entrepreneurship/Entrepreneurial Management; Collaborative Business Arrangements for Knowledge Creation; Knowledge Protection; and Knowledge Creation (Burton, 2001, 7). We can look take assistance from this framework to strengthen the innovation and entrepreneurship in the country. Furthermore, in â€Å"Entrepreneurship, Innovation and Economic Growth: Evidence from GEM data,† demonstrates the occurrence of the high growth prospective of the new emerging firms.There are different rates of economic growths which have been observed in the country. Not every entrepreneurial start-up contributes to the generating economic growth. It shows that other factors also influence the economic growth of a country. Innovation in science and technology is also an essential part in contributing to the growth of economy in a country. Economic growth is a process through which knowledge is transformed into qualit y goods and services that satisfy human needs (Wong et al, 2005, 335).The companies are the means through which scientific and technological knowledge is applied in a practical way through the production process, and is transformed into goods and services increased level or better quality, which contributes to the economic and social transformation. Organizations need a change of approach, which involves focusing attention on existing technologies that when used on a widespread basis through processes of innovation, can have a significant impact on the UK economy.Most countries recognize the importance of science and technology as tools for economic growth, but many developing countries focus exclusively on the generation of knowledge in basic research support. Countries must adopt strategies to improve the infrastructure of basic services, so that the appropriate level of the same foster technological development necessary to achieve sustained economic growth: Without a decent infr astructure of basic services it is not possible to develop major applications of technology.Many developing countries have made the mistake of not giving enough importance to the training of technicians and technologists, and artisans, which are home to many small and medium enterprises. Today most of the curriculum and curriculum of universities in developing countries have become obsolete (Murray & Blackman, 2006, 132). In an increasingly globalized world requires changes in national policies to incorporate science and technology in the design of economic strategies, in order to achieve: 1. The use of existing technology, using the strategy of â€Å"shadow and fast â€Å"using ICT (information) than is available in the world, 2.Attracting Foreign Direct Investment in technological capability and seek to promote links with other firms in the chain, 3. † Upgrade â€Å"of existing technological capacity in the business sector, 4. Identify market niches and incorporated into the chain 5. To promote international technology partnerships, 6. Using technology foresight methodology in the various sectors (Murray & Blackman, 2006, 132). Among the various fiscal and policy instruments that can be implemented to stimulate technological innovation and boost business ties between the actors.We need to promote intellectual property, promote international cooperation in technology transfer, and promote co-financing for technological innovation and venture capital funds for technological innovation. Other than that encourage the creation and development of small and medium enterprises to promote business development centers and technology incubators, implement technology parks; enhance the technological links with companies in free zones are also very important. There are many issues involved in the role of innovation.For many years, we have tried to understand the relationship between innovation and development in global and in particular its economical dimension. This interest has increased significantly. While this issue has been addressed in the literature at least since the 60's and 70's, is the late 80's and 90's in that discussion has intensified in part by the new avenues that are opening the economy informational. A new technological revolution based largely on information, and spread through the global economy, affects the spatial conformation of economic activities (Uljin, 2003, 15).This is due to the characteristics that result from different combinations of endogenous processes such as fixed capital investment, research and development, education, the advantages in the use of technologies, the economies of scale, the allocation of resources, and a variety of institutional factors that vary between countries. This applies not only within countries but even between regions. The industrial map is diversified, resulting in regional differentiation based on the vocation of the places on those parameters.Innovative industries of the ne w technological revolution do not show a generalized spatial dispersion. On the contrary, are located in regions where they meet the requirements for innovation. Three issues deserve particular attention. First, it increases the importance of knowledge and intelligence as the basic factors of the system. They are the key for access to and ownership of information that feeds the dynamics of innovation by enabling technological transformation and modernization of the economy (Uljin, 2003, 15). Second, it involves growing interdependence among various actors and resources.Among them are companies that make up the economic structure of a region, universities, local government, the labor market, community, entrepreneurship, infrastructure and funding sources. Conclusion This is particularly important as the playing experience with innovation policy has become a panacea for a variety of problems. It is clear that the contexts in which they have successfully implemented these policies cont ain factors that are areas of opportunity for action and that lessons should not be isolated without context.Third, the information economy, enhances the integration between regional and global networks. The paradox of the twentieth century is that, in a global economy, regions and cities become increasingly important, even when they have less power than national governments and are always in constant competition. The regions have enormous advantages to compete globally; from greater flexibility to adapt to changing conditions at the national level can be tackled only with painful effort behind. References Audretsch, A. D. and Thurik, A. R. 2001), â€Å"What’s new about the new economy? Sources of growth in the managed and entrepreneurial economies,† Industrial and Corporate Change, Vol. 10, No 1, Pp. 267-309 Burton, J. (2001), â€Å"Innovation, entrepreneurship and the firm: a post-Schumpeterian approach,† International Journal of Entrepreneurship and Innovatio n Management Vol. 1, No. 1, Pp. 7-29 Murray, P. & Blackman, D. (2006), â€Å"Managing Innovation through social architecture, learning, and competencies: a new conceptual approach,† Knowledge and Process Management, 13, 3, Pp. 32-143 Uljin, J. (2003), â€Å"Cultural Conditions of Championing Innovation in International Technology-Driven Firms: Ways of Conceptualisation and Assessment,† ECIS Reseach, Pp. 15-19 Wennekers, S. and Thurik, R. (1999), â€Å"Linking entrepreneurship and economic growth,† Small Business Economics, Vol. 13, No 1, Pp. 140-149 Wong, K. , Ho, Y. P. & Autio, E. (2005), â€Å"Entrepreneurship, Innovation and Economic Growth: Evidence from GEM data,† Small Business Economics, Vol 24, Pp. 335 – 350

Job opportunities in performing arts Essay

The below information is a rough guide based on the information from the jobs4you website. There are over 500,000 people that work in the creative and cultural skills area of work, there are over 62,000 creative businesses in the UK, and 94% of the businesses only employ 10 people a year, so being an arts administrator is a very competitive area of work to get into. There are opportunities throughout the whole of the UK, in public and private organisations. You can get a job in theatre, concert halls, galleries, museums, exhibitions and festivals, etc. Jobs for admin are advertised in the local and national press, and through magazines such as the Arts Professional and The Stage. Qualifications Most of the employers ask for GCSEs at A-C in English and Maths, also it helps to have some relevant work experience. Some arts administrators have gone on to complete a degree, there are many degrees that offer relevant experience, for example business studies, arts management, music, drama or visual arts. The degrees normally last for 3 years, entry for a degree is normally at least two A levels. Entry for adults is a bit harder, so relevant work experience is required, for example: Administration or secretarial work, marketing or public relations, finance, performing arts, for example as a dancer or performer. Access courses are available for people that don’t have the relevant qualifications, and who would like to study a degree. In this job, many people train on the job, but they can take short courses to help develop or to produce new skills. There are many NVQs and SVQs that are relevant, these include: * NVQ/SVQ levels 3 and 4 in business and administration * NVQ/SVQ levels 2,3,4 and 5 in cultural heritage. A promotions manager in the music industry is specialised in finding any opportunities in publicity, this can be for all types of artists, for example a singer or instrumentalist. promotions managers may work with record labels and individual musicians or bands.

Organization Development Essay Example | Topics and Well Written Essays - 1500 words - 1

Organization Development - Essay Example Therefore, it is indeed beneficial to understand the organization’s performance well in order to identify its most viable opportunities. The cosmetic organization has been in operation for the past three years, and over the years, it has managed to establish a steady graph of improved performance each year. Despite this success, the managers of the organization have identified that the organization still has the potential to perform much better. The marketing department of the organization has realized that most of the customers are requesting a variety of the cosmetic products. Therefore, this is one reason as to why the organization needs to undertake the process of organizational development. One other reason for organizational development is seeking to acquire current technology and diversify its operations according to the acquired technology. The management has also noted that the company has the potential to improve the quality of its products by changing its operational procedures. Therefore, organizational development will act as a key direction of acquiring the new operational procedures. Being an organization that deals with cosmetics, the company covers a wide variety of clients, ranging from young people to the aged, both male and female. Therefore, this implies that the process of organizational development will affect a large number of people. From the data collected in the markets covered by the organization, the customers expect that the organization will develop a new variety of products after the development process. The clients also expect that the organizational development will not lead to fluctuation or hiking of prices. It is also the expectation of buyers that the development process will be able to accommodate each and every user of the cosmetic products. Users of the old products also expect that the organization will still continue supplying them even

Aviation Legislation Essay Example | Topics and Well Written Essays - 500 words

Aviation Legislation - Essay Example The board also has a responsibility of making sure there is advanced engineering technology in the aviation industry. Moreover, the board is entitled to maintain a peaceful aviation industry that is adequate to cope with all the requirements of war (Lawrence, 2008). The other significant importance of the Moral Board is making sure that the aircraft manufacturing industry runs and operates in the recommended way. The board manages to enact this obligation by undertaking most of the government policies related to manufacturing and maintenance of aircrafts. The board is also entitled to make sure that there are essential needs and equipments to assist in maintaining security all over the country. The other major obligation of the Morrow Board is to make investigations on various matters that hinder or cause poor performance in the aviation industry especially in both navy and army departments. The board is also entitled to make various recommendations that ought to be considered after weighing various opinions from different stakeholders in the aviation industry (Lawrence, 2008). The American government passed the Railway Labor Act back in 1926 but later made various amendments on the law (Lawrence, 2008). The significance importance of the act in relation to the airline industry is that it deals with various labor related issues. Moreover, the act also deals with various labor issues related to the railroad industries. The act protects the rights of employees in the airline industry. It manages to accomplish this obligation by providing a peaceful environment in disposition of disputes between carriers and their employees. The act also manages to impose a duty on both carriers and employees in order to put reasonable efforts while trying to maintain collective bargaining agreements. The duty helps to settle disputes between the two bodies by providing various resolution

The Power of Thinking or Feelings in Crest and Vaseline Advertisements Essay - 3

The Power of Thinking or Feelings in Crest and Vaseline Advertisements - Essay Example Vaseline persuasively uses pathos because of its emphasis on the word â€Å"feel,† so that the audience can â€Å"feel† its sincerity regarding the benefits of its product, and then it expounds on the scientific backup of these benefits to fully convince the audience that it is the best lotion in the market. The main positioning statement of the ad is â€Å"feels good, does well.† The statement is simple, but its meanings are varied. Vaseline uses the words â€Å"feel† and â€Å"good† to underline emotions. It is stating that its lotion feels good on the skin while providing emotional benefits too. Instead of just stressing its ingredients, it centers on the resulting â€Å"feelings,† which is related to â€Å"goodness.† Another impact of the feelings of goodness is having a good day. When people feel good, they tend to do well in school, work, and home. Feeling good starts the day with happiness and improves quality of life. After the short introduction on what the product makes consumers feel, a longer explanation is below it, where scientific words are added. The long paragraph stresses that the product is the â€Å"next generation† of Vaseline lotion, which suggests that it is current and not an â€Å"old† formula. The words â€Å"pure† and â€Å"natural† make Vaseline a â€Å"natural† product, even when it has chemicals too. The main goal is to relate Vaseline with the goodness of â€Å"Nature,† but one that is scientifically tested and perfected. The words â€Å"new formula† and â€Å"infuse moisture deep down† accentuate that the product is the latest tested formula that goes beyond other usual lotions. The â€Å"rich feel and glowing skin† is a suitable end, since many consumers want their skin feeling smooth and looking young and fresh.o reinforce its sincerity further, another strategy of Vaseline is its â€Å"Money Back Guarantee.† T he ad has a blue stamp, a stamp that symbolizes something assured and permanent.     

Poland Part 2 Essay Example | Topics and Well Written Essays - 3250 words

Poland Part 2 - Essay Example The new Constitution embodied the many changes in the political, economic and social structures of the government including the executive, legislative and judicial branches. Intensive efforts to turn around the country’s economy largely through liberalization and adoption of globalization measures as well as political decisions like entry into the European Union and aligning itself with the NATO were resorted to by the Polish government not only to access the wider European market but to ensure the security and integrity of its territorial jurisdiction. To some extent many of these measures worked, like for example, attracting foreign direct investments into the country. There is still however vestiges of the past that refused to go away, like corruption, which are unattended to largely because of the revolutionary way with which the country transitioned and therefore the resulting inadequacies of some of the laws that were put in place during the quick changing of the guard. President. The President of the Republic of Poland acts as its Head of State and Commander-in-Chief of the country’s Armed Forces. Previously, the President was elected by the National Assembly but since 1990, this position has been electable by popular vote. The powers of the Poland President is contained in the Short Constitution which was enacted on October 17, 1992, a document which formally put into writing all the changes and reforms instituted within the years 1989 and 1990 containing, among others, the legal framework of the entire government and its responsibilities. Subsequently, the Constitution of 1997, which was approved by a majority of the people in a national referendum, divided executive power between the Council of Ministers and the President. Among the powers of the President is the prerogative to nominate the members of the Council of Ministers which is composed of the Prime Minister, the Deputy

APPLIED RESEARCH METHODS Essay Example | Topics and Well Written Essays - 3000 words

APPLIED RESEARCH METHODS - Essay Example The proponent will discuss concisely the research aims and objectives. Next to this, the proponent will show related and significant literature that may add up insight to the subject of the research. Then next to this will be the discussion of research methodology. It is through this that the proponent will detail the needed structure in order to work out the research and obtain substantial information. The other important part will be data analysis. It is through this that the proponent will analyse the data gathered in order to come up with important information as the main contribution of the entire research. Finally, ethical issues would also be included in the research. This is to ensure that the entire research process is conducted with strong emphasis on ethical considerations so as to come up with Research Aims and Objectives In this section, the proponent will discuss in general what the research is all about. Thus, the proponent will present the general aim of the research and that this research is in line with the investigation on how the channels of communication with employees might be improved in a multi national organisation. Next to this, the proponent will discuss a little background about the importance of communication in an organisation that especially deals with manpower. This will give substantial idea on the proposed objectives of the study. The following discussion is considered the background of the study that will serve as opening thoughts as far as the introduction of objectives is concerned. Communication is important because it is through this that an organisation will succeed in dealing with employees and all other aspects in the operation. Communication is one of the most important applications in the operation because it is having this that every detail in the operation will substantially be implemented. For instance, if the vision is not clear among employees, then the company will end up being hopeless in achieving its objectiv es may it be in the short-term or long-term run. In fact, communication both in its verbal and non-verbal forms is important in the operation on a daily basis because there is a real need to do so in order to interact with employees, customers and everyone in an organisation. Thus, it is important that the most effective and efficient channels of communication should be chosen especially in a multi-national companies. The only possible way to effectively improve the channels of communication that are integrated in the multinational company is to evaluate it in the first place. Such evaluation should be essentially done among the users. Thus, it is important that this study must emphasise that one of the best options is to conduct evaluation on the current channels of communication used in a multinational company. Thus, the following objectives should be included in the research process. 1. To choose a multinational company where channels of communication will be evaluated. 2. To eva luate the channels of communication in that certain organisation based on the employees feedback. 3. To evaluate the channels of communication based on their accuracy and efficiency. 4. To present a detailed conclusion and recommendation on how the channels of communication in a certain organisation might be improved. The above objectives imply that the general objective for this research is to actually choose an organisation to be

Mexico forign policy Essay Example | Topics and Well Written Essays - 250 words - 2

Mexico forign policy - Essay Example n is aimed at informing the United States citizens about the violation of human rights and encouraging international organizations such as the United Nations to submit recommendations to the government of Mexico with regards to the Ayotzinapa. It is also meant to inform the rest of the world that this case has not yet been closed as the case of such cases of disappearances in the past and reach out to the President Barrack Obama for intervention. Investigations by the Mexican Attorney General offices also show the involvement of the former mayor of Iguana in the disappearances. Investigations by the Proceso magazine revealed the involvement of federal police and armed forces in the disappearances although it has not been confirmed. Analysis: according to the investigations done by the Mexico Attorney General offices and a separate investigation by Proceso magazine, there is involvement of powerful people in the disappearances of the forty-three students. The United Nations have pointed out to the poor management of President Enrique Pena Nieto’s administration but the Mexican government has rejected such accusations. Although the case was closed because of the students’ remains being burnt to ashes and dumped in a river, the citizens want to show the anti-democracy and criminal acts

Marketing of service ( Capture the Customer Interface ) Essay

Marketing of service ( Capture the Customer Interface ) - Essay Example There are different types of customers in the food industry but the main customers who frequent chili and groceries are those who are looking for Indian foods among other Asian delicacies. This customer base is generally acquainted with the best service delivery that the shop can offer the customers are treated as individuals and all their needs catered according to their preferences. Chili and Olive Groceries does this by making sure the restaurant is never double booked and enough space is available for any extra bookings. The entire service in the store is team managed to make sure the flow of information from the customer is entirely put into consideration for better services that they require. Chili and Olive groceries have redesigned the elements of process, people, productivity, and physical environment to appeal to the customers it serves. This comes as part of the process to create a better communication in the business. The use of social media creates an easier way to locate the restaurant and grocery. This comes easy since Muhammad has put the map on the timeline of the Facebook page plus the page is used as an advertisement medium. It is hard to miss the delicacies the restaurant offers since they are displayed on the wall. To increase productivity the store has employees to assist on anything one need. Customer service has been vamped up to make sure the customer base is satisfied at any given visits. Chili and olive has iconic products that are rare in Canada hence creating a market that is untapped. The restaurant and grocery store is a brand that is visibly appealing to any consumer who never had the Indian and middle eastern food experience. With a variety of specials like biryani, samosas, sheesh khabab, paneer paratha, and other Indian and middle eastern food, the menu in the restaurant is to die for. The product here cater for every needs for the customers be it those who are on the diet and those who are in for a

South Carolina Nullification Essay Example for Free

South Carolina Nullification Essay Throughout the great American history, Americans have been through a colossal amount of conflicts, and wars. However, they still figured out a way to compromise and accept each other’s differences. As America improves, they gradually lead to a making of a powerful and organized government. Yet in â€Å"South Carolina Ordinance of Nullification† a conflict arises, where South Carolina is furious at the federal government and wants the best for themselves. Like many other states South Carolina is one of which that had its own negative opinions towards the federal government, leading to a larger problem. The document â€Å"South Carolina Ordinance of Nullification† both supports and contradicts American and constitutional principles. In early 1860’s the Civil war took place, against the North and the South parts of America. In the time that was taken to reach the civil war, many small disagreements and arguments took place that eventually led to having an immense war. However, around three decades earlier, South Carolina had been having disagreements with the federal government. On May 19, 1928 the Congress of the United States passed the Tariff of 1828. The tariff was designed to protect industries in the northern United States which were being driven out of business, by low-priced imported goods by putting tax on them. Well it seems as if this was a great idea, until, the south started to feel the effects of it, on their antebellum economy. The south called the tariff of 1828, â€Å"Tariff of Abominations†. â€Å"South Carolina felt that the protective features of tariffs were harmful to them and they also claimed that they were unconstitutional because they favored North over the South. (u-s-history. com)A government should serve their people with equality and liberty. Instead the federal government chose to be unfair and help the north because that’s where they lived. This case continues to go on, as South Carolina and other southern states get more furious and lead on to making a Nullification of crisis. The Nullification of Crisis includes South Carolina’s opinions and how the tariff of 1828 is the opposit e of, liberty and justice for all. Since the federal government had passed a tariff that is unfair to the south, for the good of the North. South Carolina was so furious that they started talking about the seceding from the union and working their own independent state, where they can have their own laws. However, South Carolina believed that constitutionally, the state government of each state had more power within that state than did the federal government. Therefore, if a state considered it necessary, it had the right to nullify any federal law within its boundaries. The idea South Carolina had was injudicious, they thought of themselves as being more powerful than â€Å"The Federal Government†, the main and the most powerful government in America. The idea of a state being more powerful than a federal government does not exist. It doesn’t say anywhere in the constitution that a state could not follow the federal government laws and have more power than them as well. In addition, if South Carolina and other states had more power than the federal government, you wouldn’t need a federal government and there would be no point of having the â€Å"United States of America†. Moreover, when President Andrew Jackson found out about the nullification of tariffs passed by the congress, he declared an act of open rebellion and ordered U. S. ships to South Carolina to enforce the law. â€Å"Before federal forces arrived Calhoun and Senator Henry Clay had an agreement which lead to congress passing out the tariff of 1833. This lowered the tariff gradually over a decade and prevented any armed conflicts. †(. loc. gov) This shows the strength of the federal government over all the states. In conclusion, the â€Å"Ordinance of Nullification† was a document with many personal opinions and conflicts. For example, the federal government wasn’t equal to the south, by letting north have the positive affect of the tariff of 1928 and south have the negative affect. In result south tried to show that they have more power than the federal government by nullifying the tariffs. However all of this ended with an agreement. Throughout most of our history when a conflict derives a compromise is always made. After all, the conflict and work the Americans went through in the past, made an abundant change for us in the future.

The Major Factors That Led Rome and the Hellenistic Kingdom to Clash Essay Example for Free

The Major Factors That Led Rome and the Hellenistic Kingdom to Clash Essay 6. What were the major factors that led to clashes between Rome and the Hellenistic kingdoms, down to 146 B.C.? Can one decide what proportion of the responsibility for these clashes belongs to Rome, to the Hellenistic great powers (the Antigonids, Seleucids and Ptolemies) and to the minor players? This essay will what were the major factors that led to clashes between Rome and the Hellenistic kingdom, down to 146 B.C. A brief history of Rome’s increasing involvement in the Hellenistic area starting with its wars with Hannibal of Carthage and how the Hellenistic Kingdoms of Antigonids, the Seleucids and the Ptolemies and several other minor powers in the area came to be after the death of Alexander. The essay will focus on the factors that the writer believes contributed to the clashes. These being, Philips alliance with Hannibal and the Carthaginian empire, the results of ambassadors from Rhodes and Pergamum being received in Rome and telling of an appending alliance between Philip of Macedon and Antiochus of the Seleucids Kingdom, the third factor is that Rome was simply coming to the aid of its ‘friends’, various smaller powers in the area with which it had formed alliances. The essay will then focus on to whom the responsibility for the clashes between Rome and the Hellenistic Kingdoms lies with and what proportion of responsibility can apportioned to each party. This will focus on the major players of the Hellenistic Kingdoms, the Antigonids, Seleucids and Ptolemies and other smaller players. After the death of Alexander in 323B.C. the empire which he had created began to be broken up into different kingdoms and satraps amid bitter infighting by his generals, including Ptolemy, Cassander, Antigonus, Parmenion and Seleucus. â€Å"the ultimate fragmentation of Alexander’s empire was likelihood from the start, and the history of the following generation was to see the emergence of several separate kingdoms and dynasties out of his once unified empire.† Out of these generals three emerged to take control of large pieces of Alexander’s empire, these were, Ptolemy, Antigonus and Seleucus. Ptolemy Soter had campaigned with Alexander from the beginning and had gained Alexanders trust, and had become one of his personal bodyguards as well as one of Alexander’s generals. After Alexanders death Ptolemy was given the satrapy of Egypt and soon used his new found authority to start claiming some of the surrounding areas, including, the region around Cyrene. His first challenge to the authority of the other satrapies and kingdoms was the claiming of Alexanders remains as his funeral procession toured through his empire. Ptolemy later won the lands of Palestine and Cyprus to further secure Egypt’s borders. The Ptolemy dynasty lasted many centuries until it also came under Roman rule. Antigonus was another one of Alexander’s successors and created the Antigonid dynasty which was to rule Macedonia and parts of Greece. Antigonus had ambitions to recreate Alexanders empire and this was recognized by the other successors who formed an alliance against him, that was fought over many battle but reached no real conclusion, but prevented him from expanding his kingdom any further. Antigonus was constantly under attack from all sides and finally fell in battle and his kingdom now came under the control of his son. Seleucus was another of Alexanders general and after his death was given the satrapy of Babylonia and after first being ou sted by Antigonus, he fled to Egypt to seek refuge with Ptolemy, after a number of years in Egypt, Seleucus returned to take over much of Persia. The lands that he had gained were ethnically diverse and used different parts of each culture to administer his lands. Seleucus managed to gain back much of Alexander’s former empire until he was assassinated and his son took over his leadership. These three successors of Alexander along with the more minor satrap of Lysimachus and Cassander inherited an empire but through almost constant warfare between themselves were not able to resurrect Alexander’s empire either singularly or as an alliance. The three main successors forged dynasties that lasted a couple of centuries until they all were defeated or came under the sway of Rome. Rome fought three wars with Carthage called the Punic wars, these wars were fought between 264B.C. and 146B.C. (First 264-241B.C., Second 218-202B.C., Third 149-146B.C.) The first two Punic wars were essentially defensive wars for Rome especially the second where Hannibal in command of the Carthaginian forces crossed the Alps and attacked mainland Italy, the Romans were able to repel Hannibal and his army, Hannibal was eventually defeated by the famous General Publius Cornelius Scipio and pushed back to North Africa and Carthage. The second war reduced Carthage to nothing but a city state, but Rome still feared that Carthage could rise once again to its former military might and with the third Punic war; Rome razed Carthage to the ground, slaughtering or enslaving its inhabitants. â€Å"At the sight of the city utterly perishing amidst the flames Scipio burst into tears, and stood long reflecting on the inevitable change which awaits cities, nations, and dynasties.† Rome and the Hellenistic kingdoms fought four wars called the Macedonian wars between 215B.C. and 146B.C. and wars signalled the first clashes between Rome and the Hellenistic kingdoms. The first Macedonian war was fought between Rome and Philip V of Macedon of the Antigonid kingdom and was brought about as a cause of revenge. In 216B.C. Philip V thought that with Hannibal’s continuous victories over the Roman forces that the Italian peninsula would fall and that the time was right to form an alliance with Hannibal, with the ambition of expanding his own domains. This was a war that Rome did not want to be involved in as they were already stretched militarily in their fight against Carthage, and sent only a small force to deal with Philip V and the Macedon kingdom. According to Livy, Rome made an alliance with the Aetolians to fight against Philip V and sent a larger force to wage war, but on arriving found the Aetolians had made peace with Philip V and it was easier for Rome to seek peace with Philip V than fight alone, and thus the first Macedonian war ended. The Second Macedonian was fought between 200-196B.C. and was started after an apparent secret deal between Philip V of Macedon and Antiochus III of the Seleucid kingdom to attack and divide up the Egyptian kingdom under Ptolemy rule. Ambassadors from Rhodes and Pergamum had sent diplomatic missions to Rome with these reports with the intent of gaining Roman support against Philip V and the threats he posed to their kingdoms. Philip’s aggression towards the Greek city states, some who had alliances with Rome, caused Rome to issue an ultimatum to Philip, to remove his forces back into Macedon, Philip refused and on the pretext of helping its ‘friends’ Rome started t mov e its forces against Macedon. It is possible that Rome also feared if Philip and Antiochus gained further footholds in the Eastern Mediterranean, they could at some point threaten Italy, also of note is the ambition of Roman commanders to gain personal advancement and public prestige through the triumphs of winning wars. Philip was defeated in the battle of Cynoscephalae in 196B.C. and was forced to give up all territories outside of Macedonia and become an ally of Rome. At this point Rome proclaimed that all Greek was ‘free’ and essentially Greece came under Rome’s political and military sway. ‘The Senate of the Romans and Titus Quibctius the proconsul having defeated king Philip and the Macedonians in war, allow (Greece) to be free, ungarrisoned, not subject to tribute and using their ancestral laws.† In 192B.C. Antiochus III invaded Greece seemingly at the request of some Greek states to liberate Greece from the Roman’s, Antiochus found little support in Greece for his en deavours, for many of the Greek states had regained independence after the Roman occupation and had no desire to be ruled over by another king. Rome retaliated and Antiochus was defeated in battles at Thermopylae, Myonnesos and Magnesia-by-Sipylos, these were crushing defeats and forced Antiochus back to Syria and what was left of the Seleucid kingdom and thrust Rome deeper into the affairs of the region. The third Macedonian war fought between 172-167B.C. and was caused by accusation by King Eumenes of Pergamum of Macedonian violations of its territory and an assassination attempt on Eumenes that were both attributed to king Perseus, who had now taken the throne after the death of his father. Perseus tried diplomatic negotiations with Rome who had an alliance with Pergamum, but these only served to give Rome more time to prepare an invasion force. Perseus managed to win a few minor battles, but was crushed in the battle Pydna in 168B.C. and this signalled the ended of the Antigonid kingdom as it was split up into four republics by Rome. In the period between 168-146B.C. Rome consolidated its power in the region with calling on Antiochus to withdraw his troops from Egypt and further decimated the Seleucid kingdom by burning its ships and hamstringing its elephants which effectively brought an end to any resistance. The so-called forth Macedonian war consisted of local anti-Roman uprisings and invasion from Thrace in 149B.C. by Andriscus who managed to defeats the Macedonian resistance crowned himself Philip VI, but his reign was short-lived and after being handed over to the Romans in 146B.C., Macedon was made a Roman province, thus signalling the end of the Antigonid kingdom. To attribute a proportion of responsibility for the clashes between Rome and the Hellenistic kingdoms cannot be clearly defined as both parties during this era had ideas of expansion and each conflict could potentially be blamed on the other party. An example of this is the second Macedonian war where the responsibility could be split because Philip had been moving forward in taking land off the Greek city states, while Rhodes and Pergamum had been trying to entice the Romans to attack Philip through sending ambassadors to Rome with their grievances and it could be argued that the senators and commanders in Rome wanted to attack Philip for reasons of personal advancement and prestige. Whilst in many of the other wars Rome could be seen as the aggressor as their seemed to very little provocation or reasoning in some of their attacks, shown by the third Macedonian war. In conclusion this essay has given a history of Roman military movements up until their entry into the Hellenistic realms, along with histories of the major Hellenistic kingdoms and how they ended up clashing with Rome. The major factors which led to these clashes have been identified along with what proportion of responsibility should be given to each party for the clashes. It is possible that the downfall of the Hellenistic kingdoms was inevitable and it was only a matter of time before Rome conquered them all. â€Å"the Romans in less than fifty-three years have succeeded in subjecting nearly the whole inhabit ted world to their sole government—a unique thing in history?† Bibliography: Austin M.M. The Hellenistic World: From Alexander to the Roman Conquest. 2nd Ed Cambridge University Press, Cambridge. 2006 Balsdon, J. P. V. D. Rome and Macedon, 205-200 B.C. Journal of Roman Studies , 44: , 1954 Billows. R.A.. Antigonos the One-Eyed and the Creation of the Hellenistic State. University of California Press, Berkley. 1990 Dorey T.A. Rome Against Carthage. Seeker and Warburg, London, 1971. Great Lives from History: The Ancient World, Salem Press, 2004 Gruen. E.S. Rome and the Seleucids in the aftermath of Pydna Chiron, 6, 1976 Livy The History of Rome trans. Rev. C. Roberts, EP Dutton and Co. New York. 1912 McDonald A.H. Rome and Greece 196-146 B.C. Auckland University Press. 1970 Polybius The Histories of Polybius, trans. Evelyn S. Shuckburgh, Macmillan, London, 1889 Shipley. G The Greek World: After Alexander 323-30B.C. Routledge, London 2000 Walbank F.W. The causes of the Third Macedonian War: recent views The in Ancient Macedonia II: Papers Read at the Second Inte rnational Symposium Held in Thessaloniki, 1973 , Metsakes, K. , 1977 [ 1 ]. M.M. Austin The Hellenistic World: From Alexander to the Roman Conquest 2nd Ed Cambridge University Press Cambridge. 2006 pp. 63 [ 2 ]. Great Lives from History: The Ancient World, Salem Press, 2004 pp 25-28 [ 3 ]. Billows. R.A. Antigonos the One-Eyed and the Creation of the Hellenistic State. University of California Press, Berkley. 1990 [ 4 ]. G. Shipley The Greek World: After Alexander 323-30B.C. Routledge, London 2000 pp. 286-287 [ 5 ]. T.A. Dorey Rome Against Carthage Seeker and Warburg, London, 1971. Pp.37-51 [ 6 ]. Polybius 39.51The Histories of Polybius, trans. Evelyn S. Shuckburgh, London Macmillan, 1889 [ 7 ]. J.P.V.D. Balsdon Rome and Macedon, 205-200 B.C. Journal of Roman Studies , 44: , 1954 pp:31-33 [ 8 ]. Livy 31.1-31.4 The History of Rome trans. Rev. C. Roberts, EP Dutton and Co. New York. 1912 [ 9 ]. Livy 31.2 The History of Rome [ 10 ]. G. Shipley The Greek World: After Alexander 323-30B.C. pp:374-375 [ 11 ]. A.H. McDonald. Rome and Greece 196-146 B.C. Auckland University Press. 1970, 113-114 [ 12 ]. Polybius 18.46 The Histories of Polybius [ 13 ]. Livy 37.41-37.45 The History of Rome [ 14 ]. F.W. Walbank The causes of the Third Macedonian War: recent views The in Ancient Macedonia II: Papers Read at the Second International Symposium Held in Thessaloniki, 1973 , Metsakes, K. , 1977 pp. 84-86 [ 15 ]. E.S. Gruen. Rome and the Seleucids in the aftermath of Pydna Chiron, 6, 1976 pp. 74 [ 16 ]. Polybius 1.1 The Histories of Polybius

Matthew Barney: Artist Biography

Matthew Barney: Artist Biography The mythological world of Matthew Barney Matthew Barney was born on 25th March 1967, in San Francisco, California. He attended school in Boise, Idaho from 1973 to 1985. He was brought up between Idaho and New York and first encountered on visits to his mother. He went to Yale University, New Haven where he enrolled to study medicine but transferred to study Fine Art. After graduating from Yale in 1989, he made a swift impact on the art world. He has had exhibitions in San Francisco and London. He is based in the Guggenheim Museum in New York. While attending Yale he paid his way through college by modelling while studying medicine. After a couple of semesters, he transferred to the art department where his abstracts became popular. It was here that Barney began to experiment with Vaseline as a creative medium. From bursting into the art world in 1991, Barney has been able to create a distinguishing world from using multimedia, sculpture, photography, film and drawing. His work following careful study in process and the evolution of form has been informed by the human body, art history, cultural production and biological development. Early in his career he worked with sculpture fused with video and performance. His work reflects on his past as a gridiron footballer and a wrestler as well as the study of the human form and the work of many of his contemporary artists. Some of his earliest work in Yale was staged in the University’s sports complex. He is most famous for his work as producer and creator of the Cremaster (1994 – 2002) films – five visually excessive works which have been created out of sequence. Barney features in the films in a countless roles with some being as diverse as a magician, a ram, a satyr, Harry Houdini and infamous murderer – Gary Gilmore. Not only have his films included himself but have also included artist Richard Serra, writer Norman Mailer, and actress Ursula Andress. His use of imagery, narrative and dialogue weaves a unique mythology. These films are seen as a self enclosed aesthetic system. Jonathan Bepler composed and arranged the films soundtracks. These are not just a series of films, also involved are photographs, sculptures, drawings and installations which the artist produces in combination with each film. The title Cremaster refers to the muscle that raises and lowers the male reproductive system according to temperature, external stimulation or fear. The films are a mixture of autobiography, mythology and history, his universe is connected and densely layered. The film consists of anatomical allusions, with the position of the reproductive organs during the embryonic process of sexual differentiation. Cremaster 1 is the most ascended position while Cremaster 5 is the most descended. In Barney’s metaphorical universe these pieces represent a condition of pure potentiality. Over the eight years of production, Barney looked beyond biology as a way to explore form creation and took his universe to new levels and other realms indulging in biography, mythology and geology. Cremaster Cycle director/artist Matthew Barney. Matthew Barney, CREMASTER 3, 2002 Prodution Photograph,  © 2002 Matthew Barney Photo: Chris Winget, Courtesy: Barbara Gladstone Cremaster 3 was the final film in the series. It was the most elaborate of the five films. It referenced Barney’s position in the art world. This final film is set on location at Fingal’s Caves in Scotland and Giant’s Causeway in Northern Ireland. Both of these locations are symbolic. They resemble each other and are entrenched in deep mythology. These films have depicted a parallel mythological world, with rich and complex symbolism. It delves into the dilemmas and traumas that shape today’s society. This was Barney’s ambitious project which took a decade to make. It was packed with references to pagan mythology, modern architecture, popular culture, human biology and art history. The Cremaster Cycle has earned Barney much praise despite its notorious scenes of solipsism and banal masculine trials. It is a highly ambiguous piece. The Drawing Restraint series began in 1997 as a series of studio experiments, which draws upon an athletic model of development in which growth occurs only through restraint. When the muscle encounters a resistance, it breaks down and becomes engorged, but through healing the muscle becomes stronger. This series is well documented through video and photography especially 1 – 6 (1987 – 1989). Drawing Restraint 7 is marked with narrative. His concept lies in three elements – situation, condition and production. These constitute the origins of Drawing Restraint. They are illustrated in highly intricatecreative process of sexual energy divided into the three elements. This series was inspired by the condition of hypertrophy where the muscles of the body develop strength and size when they are placed under restraint. Barney has turned this from artistic production that investigates restraint as a source of creativity. It was in the project Drawing Restraint 9, a feature length film whose song track was composed by Bjork which consisted of sculptures, photographs and drawings which built upon the Shinto religion and on whaling. There are sixteen of these pieces. It’s as if his work is meant to shock. He art is a form of abstract and surrealism, with the use of aesthetic athleticism which underscores the sports iconography which is evident in his work. Through his work the audience can see his icons and who he idolizes in a cult status – Harry Houdini and Jim Otto and the system which he uses to portray these idols. He portrays them as satyrs, with athletic iconography, medical gadgets, mythological creatures etc. It leaves the audience wondering where he gets his ideas from. Once of Barney’s influences seems to be the work of Antonin Artaud and his ‘Theatre of Cruelty’ as it tends to stage events rather than men. When he broke onto the scene with his surreal sculptures and videos and form of art he was instantly successful. He is a phenomenon of his time and from his breakthrough his art has gotten strange and stranger. His is seen as the most important American artist of his generation. His unique production of films, which he also appears in, houses his sculptures and objects which he has designed especially for the use in his films. His ideas come from a host of sources – books and photographs. His work is not regarded by him or others as subsidiary to any others, they are an expression of him in different forms of the same ideas. Barney’s work is very ambiguous and it is best to accept it this way as this is his basic point. If the art is unresolved it is interesting. In the Cremaster series, he has stated that this idea is as a sexual metaphor, that the characters in his films can not be identified as being either male or female. He considers his work as abstract. He has been seen as a bad, late surrealist or because of the nature of his work as a sensationalist and that some of his critics are upset by the scope of his success. His success mirrors the success of Jasper Jones who made his debut some 40 years ago. After graduating from Yale, the word had begun to circulate about him around influential artists, dealers, editors and critics in New York. In the early 1990’s he was taken on by two galleries – Barbara Gladstone in New York and Stuart Regen in Los Angeles. At this point he was a huge phenomenon and he had not even had a solo show yet. By his absence he was present on the art scene, which is his trademark. His work was more accepted due to bad economic times as the galleries where more willing to take a risk on an artist without a track record than they had been in more prosperous times. It was through this that Barney’s work became marketable as well as his Yale connections. His early art work reflects the use of elaborate sexual and biological references and allusions to the world of fashion and sports with obvious links to those who went before him in the 1960’s and 1970’s the likes of Vito Acconci, Chris Burden and Bruce Nauman. His reviews seemed orchestrated because they were so good. Any bad reviews which he received were dismissive, like those of Hilton Kramer and through these reviews only heightened his profile. In the early 1990’s the art scene had become about conceptual art on identity politics and the body and sex which was visually meager. The peak was reached with Whitney Bienneal in 1993 and with this it seemed that the art work was doing a penance for all the excesses of the 1980’s. Critics had professed that he was a video version of Mapplethorpe and gay artists openly joked that he was the most successful young gay artist who was not gay. Barney’s idea of art is obviously meant to make the audience la ugh, it has its own strange sense of glamour and it is definitely not preachy. Formally his work was in tune with the younger generation’s priorities, where cross media and installations replaced painting as the dominant art form. His films instantly became collectables, as this medium was not traditionally used but with the advent of this technology it became hot property. This video art was making a comeback with performance art – two of his art forms, from the 1970’s when low technology videos had been used to record artist’s performance. The early 1990’s saw conceptual art be enabled by the technology which was now available and became about the story which the artist felt they had to tell. It was about gender identity and diversity politics and the more eccentric the art/ story the better. Barney’s work mirrored this image, his stories were plentiful and were all eccentric. He has even been referred to as the Wagner of the art world, as like Wagner, he has operated in a mythological language which has seemed irrational and his plan for the Cremaster series would take years to complete. His works are lavishlessly wordless, with soundtracks composed by Jonathan Bepler. They are very slow moving films with fantastic desolate settings. As the series progressed they became more visual with more saturated colours and costumes. His budgets were constantly growing but seemed non existent. He earns back the costs of his films through the limited editions of his photographs, sculptures and laserdiscs. He has, of course, sold his work through private buyers but it is the big museums which compete for his work and through this he has become somewhat of a cult figure. In the 1990’s he was American art star. He does not have any social ambition, public profile or interest in money which seems to enhance his allure. He feels that the bad reviews are more memorable to him than the good ones. He insists that he pays no attention to the critics and insists that his primary focus for art is as a sculptor and that his films reflect this. He is increasingly focused on the visual effects such as colours, shapes, and forms. He is ultimately the most important artist of his generation, in America at least, and as the audience have experienced his imagination is so big. His art is intensely visual and makes use of visual imagery. His works – performance works, sculpture and cinematic works are portraying a civilisation which is in decline. His work is full of references to freemasonry. His works are loaded with initiations and is full of symbolism. He has been proclaimed as the pioneer and saviour of video art and his work is most successful in the genre of body and performance art. He seamlessly creates dramas which are compelling with a compulsive force that are alive in a zone between the psychological and physical. He has a clear mythological vision which can be seen in his work. His practice is that of a diverse array including use of media, which includes performance art, sculpture, drawing, photography and i nstallation. He uses a varied variety of both traditional and unconventional set of materials to create this innovative work. His sculptures are the reinterpretations of his film themes for the gallery setting. Art critic, Jerry Saltz wrote of Barney: ‘One of the most interesting artists to emerge in the 1990’s, and hands-down†¦the most interesting when it comes to the way he works with video.’ Barney tries to establish narratives in which both characters and the environment are interchangeable and with the use of symbols he conveys the meaning or feelings. Matthew Barney has also been compared to the avant garde and this concept of the artist avant garde has been widely used in theories about modern art. This is a key component of modern art and has become synonymous. The terms of artistic freedom throughout the nineteenth and twentieth century through a succession of objects and practices. The modernist sense of avant garde has implied that art does not require external justification, whether it be political or ethical. Modern art critics have claimed that Barney is an advocate and paid up member of the present avant garde movement as well as being an important influence of modern art. His work definitely confirms the existence of a modern avant garde movement which he has followed on from the works of Clement Greenberg, Meyer Shapiro, Walter Benjamin and Thomas Crow. This avant garde movement emerged in the 1930’s in art but also in early socialist tradition. Once this tradition was established, work such as Barney’s has been more readily placed at the forefront of the movement. Thomas Krens, director of the Solomon R. Guggenheim Foundation has acknowledged that from Barney’s first gallery show in 1991 he has developed a uniquely aesthetic vocabulary. Barney draws his ideas from all walks, from Hollywood movies, professional sports, mythology, medical processes, biological systems, and psychological pathologies. He has also drawn from hardcore music and spiritual tendencies and mixed them all to provide a blend of allusive narrative structures which he uses the media of film, sculpture, photography and drawing to articulate to his audience. He has been recognised in the artistic community as a great American artist whose work has attracted a vast audience both nationally and internationally. Matthew Barney matches all the cri teria for being of the avant garde persuasion which is active in the present art culture. David Hopkins, in his book After Modern Art 1945 -2000 recognises Barney’s work as interpretation that could be a parody of masculine aspirations. When Barney began to create his art it was widely recognised that there had been a crisis of masculinity which was tied to the social shift which arose from the empowerment of woman in the 1990’s. There were also the issues regarding cloning and genetic engineering. Hans-Ulrich Obrist, a contributing editor of the Tate Magazine described Barney’s work as ‘dense, compacted and multi-layered.’ Obrist is interested that the Cremaster series reaches back to a time of mythology, biology and the geology of creation while jumping forward to a time of modified genetics and the mutation of identity. Culture attempts to articulate changes but finds it hard to keep pace with the changing culture. Barney is on a journey alone in his efforts to build his parallel mythological world which probes into the traumas and dilemmas experienced in modern society. Barney in an interview with Scott Foundas spoke of his desire to communicate the tension within our culture between the male and female forms and the wavering between the sexes. Barney is interested in creating a field that attempts to locate desire and eroticism in an undifferentiated way. His work aims to challenge the grounded notions of gender through making a critique of society as a whole and the insistence of society to only view gender through binary opposition. The Guggenheim Museum in New York continues to exhibit young upcoming artist’s work while their careers are still young. Barney began his relationship with the Guggenheim Museum in 1996 when he was awarded the museum’s Hugo Boss award for excellence and innovation in the visual arts. But it was five years earlier that his status was declared as great. He was honoured with a solo exhibition at the San Francisco Museum of Modern Art. Matthew Barney’s innovative work has been recognised by the contemporary art world and has won many accolades but despite these his work remains difficult to understand especially by the mainstream. And it seems to be only accessible to a subculture of artists and his supporters. Without these members he would never have received the attention or acclaim for his work. Barney once said in an interview with Michael Kimmelman (1999) Barney said ‘Art needs to be defended.’ And also ‘It’s fragile. If a work of art is shown too many times, something gets stolen from it. You come to it with preconceptions, or you get tired of it.’ Barney feels that when something becomes an image it is unrecognisable and because they are invested in the subject they cannot operate as an image. He is also worried about his work losing it authenticity due to issues of reproducing the images. Barney is able to draw his themes from issues which are relevant to modern society. Barney meets the criteria of the avant garde group in that he challenges the social conventions, he is an active member of a cohesive group, he maintains an authentic quality despite reproductions and he serves as a social mediator between social classes with drawing from themes of everyday life. His works, therefore, shows evidence that an avant garde does exist in modern and cotemporary culture and this work still remains a motivator for social advancement. Barney redefines the boundaries between the artist and the audience as he focuses on the broader theories of his medium. With his work, he is able to compartmentalise strategically the creative process w hich he then exploits the experience into one giant spectacular. He forges the different media together to create his tangible and imaginary worlds. Barney’s singular vision has created works which fuses performance and video with sculptural installations. The audience can see reflections of Barney’s past i.e. athletics but is able to tune into the new politics of the body which are evident in the work of many of the contemporary artists. His careful exploration of the body draws upon the athletic model of development which only occurs through restraint. Damien Hirst has been acknowledged as one of Matthew Barney’s contemporaries. Hirst was born in Bristol, UK in 1965 and now lives and works in London and Devon. He is the most prominent member of a group known as ‘Young British Artists’ (YBA’s). He has been dominant in the British art scene since the 1990’s and is internationally renowned. His career was closely linked to collector Charles Saatchi in the 1990’s but due to increasing frictions this relationship collapsed in 2003. Hirst was an organiser and organised an independent student exhibition while in his second at Goldsmith’s College in London where he studied Fine Art. Hirst has since admitted that he had drink and drug related problem which spanned a ten year period from the early 1990’s, during this time he was famous for his wild behaviour and extrovert acts. Hirst, too, has tried to challenge the boundaries between art, science and popular culture. He, like Barney, has a wide ranging practice of using sculptures, installations, painting and drawing. He has been praised for his work, his energy and his inventiveness. His work has made him a leading artist of his generation through his constantly visceral and visually arresting work. His work consists of the exploration of the uncertainty at the core of human experience, life, death, love, loyalty and betrayal. Hirst is best known for his work Natural History which features animals in vitrines suspended in formaldehyde. Hirst uses the vitrines to put meaning as both a window and a barrier, providing a minimalist frame but also to attract the attention of the audience. Hirst is also renowned for his paintings which includes his Butterfly Paintings which feature actual butterflies suspended in paint. Tracey Emin compared Hirst to Andy Warhol, in the mid 1990’s Virginia Bottomley descr ibed him as a pioneer of British art. Hirst sees the real creative theme as being the conception of the project not the execution. Death is a central theme in Hirst’s work and he became famous for a series in which dead animals a shark, a cow and a sheep, are preserved after sometimes been dissected in formaldehyde. The Physical Impossibility of Death in Mind of Someone Living. This piece became an iconic work of the British art world and its sale in 2004 made him the world’s second most expensive living artist after Jasper Jones. He has since eclipsed Jones when Lullaby Spring sold for  £9.65 million on 2007. Hirst has been a controversial figure not only through his art work but also on the public stage, on the eve of the first anniversary of the World Trade Centre attacks, he commented to BBC News Online (Allison, 2002): ‘ The thing about 9/11 is that it’s kind of like an artwork in it’s own right†¦Of course, it’s visually stunning and you’ve got to hand it to them on some level because they have achieved something which nobody could have ever thought possible – especially to a country as big as America. So on one level they kind of need congratulating, which a lot of people shy away from, which is a very dangerous thing.’ Following public outrage at his remark, he had to issue a statement through his company, Science Ltd (Science Photo Library Press Release, 15th March 2005): ‘I apologise unreservedly for an upset I have caused, particularly to the families of the victims of the events on that terrible day.’ In comparison, both Barney and Hirst are contemporaries in the modern art world. They are both renowned in their field. They are both out to shock and maybe this is not their intention. Barney through his use of mythological imagery and his use of the human form has been criticised but are these criticisms right. Can an artist not express themselves in this way? It seems that modern art is full of debate with regards to style and appreciation. There is plenty of shock value in both Barney’s and Hirst’s work. Critics have asked if the audience needs to see the imagery these two have produced. Barney’s work Cremaster is full of this imagery and it is based for a specific audience. He is trying to convey in his imagery the use of the body and how unstable the relationship between male and female is. He has both been praised and criticised for his work, Hirst has also been criticised for his work. It seems that the only way to grow within the art world is to prompt discussion and criticism. Both of these men are at the top of their profession through getting acclaim and winning various awards and prizes. They both use the abstract to create a surreal and almost sensationalist image. While Hirst is very public, Barney stays in the background with no public profile to speak of. Bibliography Allison, R., (2002) 9/11 wicked but a work of art, says Damien Hirst, The Guardian, 11th September 2002 Artaud, A., (1958) The Theatre of Cruelty in The Theatre and its Double, trans. Richards, M.C., Grove Press Crow, T., (1996) Modernism and Mass Culture in the Visual Arts, Yale University Press Edwards, Steve. Art and Its Histories: A Reader. New Haven: Yale University Press,  1999. Foundas, S., (2003) Self Portraiture Meets Mythology: Matthew Barney Talks about his Cremaster Cycle, IndieWire on the Web Hopkins, D., (2000) After Modern Art: 1945 – 2000, Oxford University Press Kimmelman, M., (1999) The Importance of Matthew Barney, New York Times. 10th October 1999 Obrist, H., (2006) Artist Project: Matthew Barney, Tate Magazine: Issue 2. 15th February 2006 Science Photo Library Press Release, 15 March 2005

Heavy Metal in the 1980s Essay -- essays research papers

Heavy metal in the 1980’s is hard to describe. Its static style did not change much from the 1970’s, but the lyrics, image, and theatrics took a step forward. Heavy metal had a huge impact in the 1980’s and there were many successful bands. Van Halen took heavy metal to new heights. After more than two decades of playing sold-out concert halls, selling millions of albums and enduring various lineup changes and solo projects, Van Halen is recognized as one of the most resilient and successful rock bands to emerge from the 1970s and continue into the 1980’s. Eddie and Alex Van Halen were raised in Pasadena, the children of Dutch immigrants who immigrated to California in 1967. The Van Halen brothers grew up taking classical piano lessons. Eddie played guitar and Alex played the drums as teenagers. In 1974, they hooked up with David Lee Roth (vocals) and Michael Anthony (bass), while gigging around town in their band Mammoth. Within a few years, they had become one of the most popular bands on the Los Angeles scene. Fans packed L.A.'s smoky rock clubs to check out Eddie's unconventional guitar riffs and Roth's over-the-top showmanship. In 1976, Gene Simmons noticed the group at a local club and gave them a recording session, and soon after Van Halen was signed to Waner Bros. Their debut album, Van Halen, was released in 1978 and included the hit singles "Runnin' With the Devil" and a cover of the Kinks' "You Really Got Me." Eddie Van Halen took electric guitar technique to new heights with his patented two-handed tapping and pull-off effects, while Roth's tongue-in-cheek histrionics proved to be a refreshing alternative in an industry chock full of self-important rock stars. Within six months of its release, Van Halen was certified platinum. The album not only launched Van Halen's career, but it came to influence countless American rock bands during the next decade. During the next few years, Van Halen became one of the hardest working and most profitable bands in the recording industry, releasing a string of multi-platinum albums in quick succession; 1979's Van Halen II, 1980's Women and Children First, 1981's Fair Warning and 1982's Diver Down. But it was the album 1984, released on New Year's Day of that year that solidified the band's superstar status. The album contained the mega-hits "Jump," "Panama" and "H... ...rive for debut US tours to open for, respectively, Pat Travers, Judas Priest, Ted Nugent and AC/DC. In August, Def Leppard returns to the UK to play at the Reading Festival. The crowd, convinced that the band have sold out to the Yankee Dollar and turned their backs on their home country, greet them with a rain of tomatoes and beer cans. Def Leppard released many albums such as, Pyromania with the single â€Å"Photograph,† and Hysteria with singles such as "Women", "Animal", "Pour Some Sugar On Me", "Love Bites", "Armageddon It", "Hysteria" and "Rocket". Def Leppard was an English band that showed the other bands how it was done. Their career started in 1977 and continued through 2002 with the â€Å"X† tour. Heavy metal is an amazing thing that took its unique and amazing sounds to new heights. Unfortunately due to highly commercialized excess driven hair bands the genre was sent in to another decline where the music would be reabsorbed into new genres. By around 1990 most heavy metal had evolved into other rock genres like hard rock, grunge, gothic rock, gothic metal, thrash metal, speed metal, doom metal, and nu metal.

Enders Shadow or Enders Game :: Free Essay Writer

Ender's Shadow or Ender's Game Journal - Enders Shadow Entry 1 In this story there is an alien race called the buggers, they have attacked earth before and now the I.F. (International Fleet) is training the younger generation to be commanders of the next fleet. The main character in Enders Shadow is Bean. He lives on the streets of Rotterdam, in the allies and under steps. Like many other children living on the streets, it is very sparse to find food. Most survive by the leftovers they find in the trash. Bean, being the smallest of the children was the skinniest of them all. He was extremely small. He was on his last few days of life and was so weak he gave up on finding food. That very day a crew leader named Poke (crews were a group of children that shared the food that they found and they had crew leaders) gave Bean 7 peanuts and she asked for his name. But he said he hadn’t received a name, so they called him Bean. There were food shelters that gave food out every morning but crews with young children couldn’t get in because of the older children that were bullies. And most of the time bullies would come and take food from the crews instead of beating them up. Bean had a plan to threaten one bully to protect the crew and I n return he would be allowed to live. They choose to pick the bully named Achilles because he was born with a bad leg and he needed the crew for his safety. They jumped Achilles and held a rock over his head and told him their plan and he agreed to go along with it but Bean told Poke to kill him as and example to the other bullies, but Achilles was smart and he persuaded them to let him be there protector. Entry 2 Achilles made a plan to get the children into the kitchens. When the bullies started lining up for the kitchen Achilles sent one of the crewmembers named Sergeant to the second place in the line budding in front of the meanest bully. The bully shoved the kid into the ground. Achilles came up to the bully and asked him why he pushed Sergeant into the bully in the front. Achilles explained how he was just saving his place in line, until he pushed him into his friend.

Pride and Prejudice :: essays research papers fc

In the novel Pride and Prejudice , Jane Austen takes you back to times where Pride were not only for the rich and noble and Prejudice were the issues of the time. This is a classical love story from the eighteenth century, which takes place in England. The novels focus in on a spirited young woman, Elizabeth and her family, the Bennets. Mrs. Bennets main goal is to get all of her daughters married, no matter what the consequence. Through many heart aches and pains Jane, Elizabeth and Lydia fulfills Mrs. Bennets dream and marries, but they may all not live happily ever after.   Ã‚  Ã‚  Ã‚  Ã‚  Jane was the first of five sisters to have an opportunity of engagement. A Mr. Bingley had just come to the town of Netherfield, who was the talk of the town. â€Å"A single man of large fortune; four or five thousand a year. What a fine thing for our girls!† (p. 9; Chapter I) Mrs. Bennet declared to have him over and for Mr. Bennet to become acquaint with him so he could meet up with the girls. The first meeting the two had with each other was at a ball where he asked to dance with her twice and did not let any other girl have that same pleasure. Jane fell instantly in love with him, as she explained to her sister Elizabeth â€Å"He is just what a young man ought to be.† said she, â€Å"sensible, good humored, lively; and I never saw such happy manners!-so much ease, with such perfect good breeding!† (p.18; Chapter IV) They would then have other meetings with each other and grew an intense liking for one another.   Ã‚  Ã‚  Ã‚  Ã‚  One day Jane was to go to Netherfield and have dinner with Miss Bingley. His sister did not really think she liked her brother because she showed him no particular affection. She tried to tell her to be more persuasive and when she did not she and Mr. Bingley’s friend Mr. Darcy took him out of town with haste. She received a letter on their departure and read it with Lizzy, â€Å"This is from Caroline Bingley; what it contains, has surprise me a good deal. The whole party have left Netherfield by this time, and are on their way to town; and without any intention of coming back again.† (p. 102; Chapter XXI) Jane wrote to Miss Bingley many times, but in return she was told that Mr. Bingley was spending much time with Miss Darcy. Crushed she decided to visit her aunt and uncle, the Gardiners.

Analysis of Robert Frost’s “An Old Man’s Winter Night” Essay

What is the goal in a poem? Why do writers write? Most poems are an attempt to pass on a message, to give a moral, or in any case, to communicate in one way or another. An example of a writer doing this in a poem may be seen in An Old Man’s Winter Night, by Robert Frost. Robert Frost (1874-1963) wrote An Old Man’s Winter Night, perhaps his most well conceived work and published it in the book ‘Mountain Interval’, released in 1920 as a fine peak to his career. The poem tells the story of the last night before an old man’s death. This man is portrayed as being lonely, and without meaning to anyone except for himself. The old man seems to realize this in a certain point in the poem, and decides that he no longer wants to live. He then goes to sleep, however soon after he is disturbed by the shifting of a log. He then shifts, as the log did, and dies seemingly without pain, â€Å"still sleeping† as Frost says. The poem appears to have a message to transmit, which can be unveiled through some close reading. There are several reasons which convince the reader that An Old Man’s Winter Night is memorable, impressive, and effectively passes on a moral. Firstly, the reader is engaged into the scene with no information about the old man, which parallels the old man’s situation, as neither does he know how he has become what he is: â€Å"What kept him from remembering what it was / That brought him to that creaking room was age.† Perhaps this was done to make the reader just as lost as the old man and able to enter more deeply into the old man’s character, thus being able to sympathize better with him. The old man seems to be lacking any interest in a long life and apparently has no real social life. This lack of friends is what draws us to feel for the man who clearly was not cared for in life, either due to a refusal to care for others, or because other unjustly neglected him. The man’s meaningless existence is accentuated by him constantly scaring away what seems to frighten him or makes him uncomfortable. However, the old man seems to be apathetic towards his own state. The fact that he does not even know how he got to be so in the first place adds to this notion, and makes him seem detached from his own situation. Another factor which makes the emptiness more apparent is the â€Å"barrels round him†. One may wonder: â€Å"What is in these barrels?† As Frost does not tell us what they are, we may assume that they are empty barrels, much like the life of the man. Another factor  which adds to the void of the man’s life is that the author uses possessive adjectives showing that the snow on the roof is â€Å"his† and that the icicles hanging along the wall are â€Å"his†. The reader may assume that there must be an enormous lack of subsistence to the man’s life for Frost to tell us that these completely insignificant matters are possessed by him. Overall, the reader pities the old man for his seemingly lonely, purportless, and depressing existence. Secondly, in An Old Man’s Winter Night, Frost has artistically created metaphors with light which are overflowing with meanings that can easily be missed and yet help in drawing the poem together with a sense of cohesion. â€Å"What kept his eyes from giving back the gaze / Was the lamp tilted near them in his hand.† This helps one to understand the way the man is feeling, albeit it in a minor way and in turn aids one in working out what he is doing. He is not sitting idly, but has a lamp, therefore is not trying to sleep. We are not instructed further as to what he is attempting to do but it clearly requires thought. He cannot cope with this mental surge as his age has drawn senility, â€Å"What kept him from remembering what it was / That brought him to that creaking room was age.† Frost tells us early in the poem that he was light â€Å"to no one but himself.† This informs us that he is the only one that is in touch with himself and his existence. This light he is to himself and the light he holds in his hand work together to make his isolation even more apparent, because the light that he holds is making him unable to see the outside. For him to be able to see outside he could simply have tilted the light towards the window, yet, one may understand that this metaphor shows that he is either unwilling to open up to others, or is afraid of what he may then see. He may have been intimidated by the out of doors which â€Å"looked darkly in at him†. This continues with the idea that he was only a light to himself because in tilting the light towards himself, he sees his reflection in the window rather than what may have been beyond the window. However, had he illuminated them so that he could see outside, they would no longer be darkly looking in at him. Frost then writes: â€Å"A quiet light, and then not even that.† One may speculate from this line that Frost is telling us that even the old man has lost touch with himself, and no longer cares about his own existence. Frost may possibly be calling our  attention to this line with the eye-rhyme between â€Å"what† and â€Å"that†. In the next few lines, the old man dies: â€Å"The log that shifted with a jolt / Once in the stove, disturbed him and he shifted, / And eased his heavy breathing, but still slept.† Perhaps the log shifting, breaking, and going out represented his light permanently going out as well. This link may be made with the repetition of the word â€Å"shifted†; the log shifts, and then the man shifts. In these lines there is also alliteration with the words â€Å"still slept†. Frost may have been drawing our attention to this to be sure that the death of the old man would have a strong impact on the reader. These lines are impressive and effective at expressing the death of the old man, and leave the reader feeling sorry for him. Thirdly, one may appreciate how clear the final moral is of the poem. â€Å"One aged man — one man — can’t keep a house, / A farm, a countryside, or if he can, / It’s thus he does it of a winter night.† Frost generalizes the situation, by broadening â€Å"one aged man† to â€Å"one man†. He resumes the whole story, giving the reader a clear moral at the end, identifiable to all thanks to the generalization. One may believe that, ultimately, Frost is trying to show one how not to end up, and how not to die, but offers no insight as to the better way of ending the spell one spends on Earth. Perhaps he is telling us to make sure that we do not end up like this man, and that we should â€Å"tilt the light† towards others instead of ourselves, and therefore to be in touch with others. Furthermore, it is telling us that if we do not open up towards others, and if we stay inside our own shell, with our icicles on the walls and our snow on top, isolating us from the outside world, that we shall end up in solitude and be a light to no one but ourselves, just like the old man. It may be out of context to wonder if this poem relates to the poet in any way, but it does seem rather in depth for any imagination. However, as Robert Frost was not a particularly lonely man, perhaps he was expressing a great fear of his brought forth by an incident in his surroundings. As one may now see, there are several aspects of the poem which make An Old Man’s Winter Night memorable and effective in transmitting the author’s message. These aspects are: the reader is engaged into the scene with no  information about the old man; metaphors which Frost has made with light are overflowing with many meanings; one may appreciate how clear the poem is fairly clear thanks to the generalization and how the whole of the poem thoroughly contributes to the moral. This poem transmits its idea superbly and majestically making its goal of communication accomplished.

Internet Security Essay

The key techniques to the most affordable website security would be the casual features of the website for the purpose of safeguarding the website content and the transactions that are to be made for fulfilling the ecommerce objectives of the website. The following can be credited to the diverse ways to secure the website and customer information for the â€Å"Grandmas Treats† website: Web content security: It forms the greater part of the security as they are aimed at non-representation or illegal presentation of false content that a user is not expected to see. The term cross site scripting (or XSS) is often used in conjunction with the web content and links that are to be secured for a website. Acunetix (2007) own product Acunetix Web Vulnerability Scanner is easily downloadable and comes free. Using that one could scan their website for any such flaws. Directory traversal attacks: The directory traversal attacks are quite common where the links are traversed to a very different path where the information flows to the hackers. It is due to the malfunction of the codes at the client and server sides. The code efficiency and link path requires to be checked periodically so that one is able to redesign and test the system for any malfunction. SQL injection: It is another method where intruders are capable to draw information from one website using SQL languages to illegally fetch customer’s data for obtaining their financial information or to manipulate information for wrong use. The website must be checked periodically for such incidents and must also make sure that customer records are encrypted using 128 bit security layers at the database side. The database security must be checked for getting sure that no such activity is evident. The customer’s financial information would be encrypted to hide it from easy access from hackers. E-commerce transactions security: The use of SSL 3. 0 makes sure that all vulnerabilities regarding the tapping of information so that ones purchases are safe in all respects. The use of this protocol makes sure that a secured channel is followed for communication between the client communicating clients. The use of Transport Layer Security (TLS) is important and can be enabled for any website for securing the communication to the communicating clients. IETF (2007) explains that TLS composes of point to point authentication techniques and communications privacy over the internet strengthening the encryption. 1. Web server checks and database security checks: The periodic checks are done to put a check on performance of the website and database usage. All the relevant links and database security is checked for overall assurance. 2. Database backup: The database backup plans must be devised accordingly for keeping the records safe to protect against unforeseen disasters (Navathe, 2002). These simple tips would be helpful for the website to take care of the affordable needs for security and customer data protection so that one is able to safely carry out transactions over the internet. References Acunetix (2007). Web Site Security Center: Check & Implement Web Site Security. Retrieved 16, December 2007 from http://www.acunetix.com/websitesecurity/

Describe the ways in which swing music and popular culture were interrelated during the time known as the swing era Essay

Describe the ways in which swing music and popular culture were interrelated during the time known as the swing era. There were many ways in which swing music and popular culture were interrelated during the time known as the swing era. Jazz became the cornerstone of popular culture during the period known as the swing era. The swing era influenced clothing styles, retail marketing, fashion, dance, and even language. Swing fans had their own clothing style and built a social phenomenon around it. With many dances coming and going the swing fans kept on dancing. Name some of the specific innovations Duke Ellington brought to jazz in the 1930’s and 1940’s. Duke Ellington brought some specific innovations to jazz in the 1930’s and 1940’s. Ellington was in time known as the greatest composer in jazz, he wrote roughly 2,000 compositions that had arranged from solo piano pieces, to works for orchestra’s, to highly symphonic concert music, etc. Ellington made a lot of changes to make the perfect sound, he used a variety of mutes on brass instruments to achieve more interesting tonal effects, often gave melodies to instruments that were not typically melodic instruments, and he used cross-sectional voicing. Read Also:  Topics for Descriptive Essay Ellington created an orchestra in the early 1940’s which later became known as his â€Å"Favorite Orchestra†. 4. Describe why Count Basie’s rhythm section is called the first modern rhythm section. Count Basie’s rhythm section is called the first modern rhythm section. Basie made the rhythm section to â€Å"breathe† which helped compliment instead of duplicate, as well as having the drummer Jo Jones who played the high hat cymbal style. With this Basie had created the All-American Rhythm section which was known at the first modern rhythm section because Basie had created such an amazing rhythm section to go with the rest of his band it was solid. 9. Describe some of the reasons why the swing era began and why it came to an end. There were many reasons why the swing era had begun and why it had come to an end. The beginning of the swing era started from a band called the Benny Goodman Orchestra. They traveled around on tour to get a spot and had been denied, until their last stop in Los Angeles, CA. The Palomar Ballroom wanted to hear the music that had been broadcasting and this began the swing era. The swing era decided to collapse with a shocking suddenness, with bands all over closing up their bags and shutting down. The swing era had suddenly ended from changing economics, the war, predictability, the changing audience, and bebop all of this had ended what was known as the swing era. 10. Describe how the styles of Lester Young and Coleman Hawkins were different. The styles from Lester Young and Coleman Hawkins were very different throughout the swing era. Hawkins and Young were two of the best tenor sax players that had emerged during the swing era. Considerably different, Hawkins played a huge dark sound, whereas Young’s was light and breathy. Some of the differences were as follows; Hawkins improvisations were based on his superior knowledge of harmony, Young’s were rooted in the blues, Hawkins played with a rhythmic approach that was always closely tied to the beat, and Young’s rhythmic conception was much looser, and often untied to the beat. Although they had many differences, they inspired sax players for years to come. 1. The arranging styles of Ellington and Basie are quite different when put next to each other to compare and contrast. In the song â€Å"Take the A Train† by Duke Ellington the rhythm section of the band is very on point, and broad it is a stand out section and wants to make their point. They are very loud obnoxious and want to make you want to dance. For the â€Å"One O’clock Jump† by Count Basie the rhythm section is very low key and mellow, although very good and has a good beat, more of a song to have a mellow night to or to hangout and relax to. I prefer the song â€Å"Take the A Train† by Duke Ellington, because I like to dance and it more fits my personality of a loud and obnoxious fun song.

Underground and Sublime: How the Subterranean Context of a City Embodies a Unique Spatial Experience

Underground and sublime â€Å"The high gained from such subterraneous geographic expedition is so bally intense, there’s no demand for a goblet in this wonderland. Unequalled by anything on the surface degree, the bowls of the metropolis are a sight behold.† ( Graphotism, 1999 ) Modern infinite, in context of the metropolis and the experience of a metropolis inhabitant, has been reduced to a generalised position that can be described as ‘verticality’ . Gaston Bachelard ( 1969 ) presents his theory on verticalness through the mutual opposition of the basement and the loft, which in bend brings unequivocal penetrations into the really different phenomenological waies the imaginativeness perceives ; the House in our eyes is a concentrated building, constructed with upward impulse. It becomes an independent volume which provides us with a psychologically concrete nature. But within the house, infinite is opposed by the reason of the Attic and the unreason of the basement. If the House serves as a metaphor for a City, the rules are the same in that the Attic is representative of the rational attack taken to urban spacial design. Henri Lefebvre remarks in his book The Production of Space, â€Å"Verticality, and the independency of volumes with regard to the original land and it’s distinctive features, are, exactly, produced† . Equally long as we adhere to Verticality being the cardinal axis of the urban environment, our eyes lift above the immediate specificity of district on which it is built, ensuing in a homogeneous built environment, therefore an abstraction of world. The basement on the other manus, in the instance ‘The Underground’ , is perceived as a lost dimension, one which is defined by abstraction, but Bachelard points out that the phenomenology of populating a ‘cellar’ infinite places the dweller in a harmonious province with subterraneous forces and the unreason of digging. The position of a metropolis inhabitant on their immediate environment, one time populating an belowground infinite, is returned and further deepened, to the point that the imaginativeness is limitless within the foremost ‘dark entity’ . The essay will research what, why and how the subterraneous context of a metropolis embodies a alone spacial experience through an question into the Sublime. The relation of Sublime theory to civic substructure embedded in the metropolis resistance will supply the evidences to oppugn whether the thoughts of the Sublime are relevant, particularly in the instance of infinite designed without architectural theoretical purposes. Can infinite be more strictly empyreal if it isn’t deliberately designed to be empyreal? What â€Å"Whatever is fitted in any kind to excite the thoughts of hurting, and danger, that is to state, whatever is in any kind awful, or is familiar about awful objects or operates in a mode correspondent to terror is a beginning of the sublime ; that is, it is productive of the strongest emotion the head is capable of feeling.† ( Burke, 1990 ) Bachelard ( 1969 ) uses a short narration to explicate his theory on how belowground infinite ab initio induces a sense of fright in the topic provided by C G Jung in his book Modern Man in hunt of a Soul. â€Å" Here the witting Acts of the Apostless like a adult male who, hearing a leery noise in the basement, hastes to the Attic and, happening no burglars at that place decides, accordingly, that the noise was pure imaginativeness. In world, this prudent adult male did non make bold venture into the cellar.† The Underground is depicted as the more awful in the comparing of elevated infinite and subterraneous infinite due to the degrees of witting idea used to apologize fright. In which, brings us to a cardinal trait of the Sublime. Fear is an apprehensiveness of hurting or decease, therefore rendering the organic structure nullified of its powers of moving and concluding when subjected enter the resistance. ( Burke, 1990 ) Yet this poses a paradox when we consider different scenarios that involve the rite of come ining an belowground infinite. In some occasions, for case during wartime, adult male seeks the protection of the resistance to avoid hurting or decease. The sand trap outlook takes a figure of distinguishable signifiers, from which it is deserving noticing on their deficiency of basic design considerations including comfort, airing and visible radiation. This natural disposition towards subterranean brooding roots from the earliest signifier of shelter for adult male, the cave, and yet even now the design of belowground sand traps isn’t clearly different from a of course happening cave, proposing that we besides portion a sense of security alongside fright. There is besides the passion of wonder, even though it is the simplest of our passions, which can overmaster our frights and coerce us to follow the way to find. â€Å"When danger or strivings press excessively early, they are incapable of giving any delectation, and are merely awful ; but at certain distances, and with certain alterations, they may be, and they are delightful† . ( Burke, 1990 ) In kernel, it is the thoughts of hurting that are much more powerful than pleasance, therefore the thoughts of the empyreal emerge through awful experience, but necessarily our brushs result in pleasance. The journey undertaken by human existences with the wonder to dig deep into the unknown, the stairss taken to make a finish, particularly into deepnesss of the belowground apart from any above land spacial experience as the topic is confined from all about. A longing for the safety of the surface indicates feelings of anxiousness and claustrophobia, which could hold desperate effects, but it is precisely this fright that accordingly produces the extreme highs which will ever be attractive to the topic. ( Carlyle, 2000 ) Why â€Å"Adjusting to the extremes of silence and deafening noise, bright corridors and flip black stairwells and basically developing an confidant cognition of a labyrinthine system in which were one time ignored [ go ] gaps to underground frontiers.† ( Carlyle, 2000 ) The rite of traveling belowground entirely is empyreal ; as we descend into darkness our senses are aroused, awakened and heightened. Our attending to minute inside informations is increased within a confined infinite, like the sound of a rat scurrying along the tracks of the London Underground ; the physical boundaries are existent, seting the senses under unbelievable emphasis, go forthing the imaginativeness to widen into the overpowering darkness bring oning a strong sense of fright over normally undistinguished events. †When we know the full extent of any danger, when we accustom our eyes to it, a great trade of the apprehensiveness vanishes.† ( Burke, 1990 ) These all being corollaries of our human nature, we are nonvoluntary to these effects which in all facets are linked to Sublime Theory. Edmund Burke in his book A Philosophic Enquiry into the Beginning of our Ideas on the Sublime and the Beautiful, the distinctive features of the sublime are set out in parts and subdivision clear uping the theory of our passions and their genuine sourced. In relation to architecture, he supplies concise direction and review of the nature of empyreal infinite, but it is the direct personal experience and feelings he describes, the beginning of the sublime, which I endeavor to compare with the phenomenology of Underground infinite. â€Å"Stepping outside our prearranged traffic forms and established finishs, we find a metropolis laced with liminality, with border districts cutting across its bosom and making into its sky. We find a 1000 disappearing points, each unique, each alive, each pregnant with wealths and admirations and time.† ( Cook, 2009 ) Modernity has brought a huge clandestine underworld into metropolis degrees, cluttered with wrestling conveyance tunnels, telecommunication lines, the mail rail, sand traps and vaults. All of which are excavated from the Earth, falling into darkness, off from any beginning of natural visible radiation, which incurs that all light is unnaturally substituted. Shadows engulf infinite, making these disappearing points that Michael Cook, an urban adventurer who runs the website Vanishing Point, talks about in Geoff Manaugh’s The BLDG BLOG Book. The vanishing point besides refers to a point of eternity, which in Sublime footings refers to a delicious horror. Upon looking down a conveyance tunnel, in belowground civic architecture, there is no light lighting the terminal, there is merely darkness, which presents the pheonomenon of eternity, therefore our imaginativeness is free to widen to our panic, or pleasance. Ideas are able to reiterate in our head about boundlessly, like  "if you hold up a consecutive pole, with your oculus to one terminal, it will look extended to a length about incredible.† ( Burke, 1990 ) So even though the existent dimensions of an belowground tunnel make a sense of claustrophobia, they besides comprehend enormousness in the head of the object, non merely through the semblance of eternity but besides the cognition of the labyrinthine system that they inhabit. At this point, the entryway and the flight seem inexplicable, but the consequence of eternity on the imaginativeness switches hurting to pleasance. Greatness of the dimension has a powerful impact on the sublime, particularly in consideration to architecture. But it can be perceived in many ways, much of them opposing. For illustration Norberg-Schulz in his book Genius Loci describes â€Å"The Mountain, therefore, belongs to the Earth, but it rises toward the sky. It is ‘high’ , it is close to heaven† , and the cosmic relation it has in connexion Eden and Earth, connoting that the monumental graduated table of a mountain making out to the Eden is genuinely empyreal. On the other terminal of the spectrum, Burke explains the degree of minuteness’ mentioning to such things as the ‘infinite divisibility of matter’ . We are every bit confounded by smallness as enormousness. Although in footings of belowground infinite, illustriousness of dimension has its most dramatic consequence through alternate significances. Vastness of extent, in footings of length, tallness and deepness in peculiar, exaggerate perceptual experiences of the sheer measure of such infinites, even though we can non see them, which has a profound consequence on the head. Once we explore them for ourselves our civic agreeableness map are made tangible, and we know that, â€Å"Every clip we turn on the pat, draw the concatenation, pick up the telephone, there is an belowground motion ; a gurgle of H2O, an impulse along a wire.† ( Trench & A ; Hillman, 1985 ) As the beds are peeled away the venas of the metropolis are revealed, seting the belowground kingdom on a graduated table similar to the starry heavens in its impressiveness. ‘The great profuseness of things which are splendid’ , creates the widespread vision of the sublime. ( Burke, 1990 ) The most surpassing property to Underground infinite is darkness. Darkness being the most productive of the sublime, and the Underground being unable to tackle the power of the Sun, it descends into a fearful province overwhelmed by darkness. The theory of the empyreal stresses the importance that when you enter a edifice, to do objects most dramatic, they should be every bit different as possible to the object we have been most familiar with, which implies that our ocular variety meats must be put under the most stress to heighten our perceptual experiences of the sublime. ( Burke, 1990 ) This can be farther assisted by the nature of shadows which bring a degree of obscureness into drama. Burke uses characters of fright in human existences ; â€Å"how greatly dark adds to our apprehension, in all instances of danger, and how much the impressions of shades and hobs, of which none can organize clear thoughts, affect heads, which gave recognition to the popular narratives refering such kinds of beings.† Shadows reinstate the feeling of presence, but in a confined infinite lucidity is scarce and they become abstracted in the oculus of the topic, instantly striking panic in their bosom. ( Burke, 1990 ) Other than this type of visible radiation that may make a sublime atmosphere, the antonym of darkness, that is light that obliterates all objects through its pure appendage, will hold the same consequence as complete darkness. An illustration of this is a bolt of Lightning. It moves with such quickness and brightness, that our senses are overcome. Therefore, upon come ining a infinite a speedy passage from visible radiation to darkness or frailty versa, recreates this consequence in an atmospheric environment. ( Burke, 1990 ) Apart from the effects visible radiation has on the oculus of the topic, it is the combination of vision and sound which achieves the highest grade of the sublime, and is relevant to the design of tunnels. A tunnel is constructed by uninterrupted repeat which sight perceives as one point multiplied to eternity. â€Å"The oculus vibrating in all its parts must near near to the nature of what causes hurting, and accordingly must bring forth an thought of the sublime.† This is besides relevant to the sound of the Underground. Within the confines of all environing solid stuff walls, sound reverberates around the infinite, garnering impulse and arrives at the topic with inordinate volume, which has the ability to overmaster the psyche, suspending it in action and to make full it with panic. ( Burke, 1990 ) How â€Å"The tree drawn on the land by their shadows made the most profound feeling on me. This image grew in my imaginativeness. I so saw everything that was the most drab in nature. What did I see? The mass if objects detached in black against a visible radiation of utmost pallor.† ( Vidler, 1992 ) Modern architecture, particularly in the attack to belowground architecture, has often attempted to free itself of the threatening darkness which is so imperative to the theory of the sublime and voluminous in the nature of belowground infinite. This is due to a modernist theory led by Le Corbusier in the 20th century, which takes a stance on urban design as a corporate. Dark seemed to be a parasite to architecture and it was thought that transparence would â€Å"eradicate the sphere of myth, intuition, dictatorship and above all irrationality.† Architects concentrated on opening up metropoliss to circulation, visible radiation and air, labeling the profession as the ‘light-bringers’ when it came to planing belowground infinite in peculiar. ( Vidler, 1992 ) A specific illustration of this modernist theory being apparent in current architectural pattern is the Canary Wharf London Underground Station by Foster+Partners. Which I will compare with another modern-day resistance station, the Westminster Extension by Michael Hopkins to underground infinite taken with mention to sublimate theory. Canary Wharf London Underground Station is by far the largest station to be built in the recent Jubilee Line Extension act due to the context it uses, that being the former West India dock, therefore it benefits from the handiness of infinite. The sheer size of the infinite advocates illustriousness of dimension, yet its horizontal proportions don’t comply with empyreal theory. The edifice boasts its length bing to the tallness of the Canary Wharf Tower to Burke ( 1990 ) â€Å"an hundred paces of even land will ne'er work such an consequence as a tower an 100s paces tall.† Although the uniformity to plan, with equal proportions and design based on insistent entities, enhances the subject’s experience of enormousness within infinite. It besides shows similarities with the architecture of Gothic Cathedrals in that the technology on show is evocative of the winging buttress. In the survey of visible radiation and design inside informations, the station doesn’t seem to encompass any facets of natural belowground infinite by throw outing darkness from every cranny in the design. First of wholly, the chief focal point comprises of 3 swelling glass canopies whose premier map is to pull daylight deep into the infinite. But the dimensions of the infinite prevent these from holding a important consequence all twenty-four hours long, therefore the acceptance of bright unreal lighting reduces any transitional effects between the exterior and interior to about nil. In comparing, the station at Westminster begins with a significant descent into the deepnesss of the resistance, which has a ritualistic journey reminiscent of falling into a immense cavern. The difference here is in the dimensions of the infinite which is of verticalness, about falling off from street degree, past the subterraneous substructure, into the shadows of the underworld. This is augmented by the honestness of its building which contributes to the dramatic ambiance through sheer hardiness of technology. The unreal lighting used has been smartly situated in order to move functionally and atmospherically. The visible radiations act like a beacon that directs riders out of the station, as if they are returning to the daytime of street degree, but they besides create an astonishing atmosphere by projecting infinite consists of criss-crossing stations and beams between the falling shafts, which catch the visible radiation in apposition, which besides conflicts with the framing o f a bird-eye position on the station floor. Percepts of the infinite are improbably phenomenological, prosecuting the topic with the architecture and successfully switching the position from street degree to the resistance. In my sentiment the rules in which Michael Hopkins Architects have based their architecture upon, to a great extent implement the theories of the sublime into a rationalized design tantrum to function as a functional infinite, but besides an improbably atmospheric experience for the topic. On the contrary, Foster+ Partners’ attack to belowground infinite tantrums in with the to the full rational attack of modernist theory, which alternatively of tackling the qualities of visible radiation and rites that go in tandem with the experience of the resistance, transparence has claimed its triumph. Thereby, through an extended concurrence between empyreal theory and belowground infinite, in peculiar the civic architecture of metropolis degrees, many differentiations have been made that nexus empyreal theory to infinites that we have discussed, doing it enormously relevant. What distinguishes the infinites I have talked about from Architecture is its irrational nature in the fact that Earth is excavated to make a functional infinite. There is no seeable form to take into history when noticing on aesthetics of belowground infinite as one is surrounded by Earth. But it is exactly this that makes the irrational infinite of resistance more strictly empyreal than Architecture that tries to animate what irrational infinite has. Even though Westminster station applies much detailing with purpose to work empyreal traits, it will ne'er transgress the threshold, due merely to the fact that the rational procedure designers apply to plan, retreats from organic idea. The design of civic comf ortss is apparently free from rational idea because there is no demand to take the human experience into consideration. Therefore, it may stand as its ain separate entity, suspended in the resistance, beautiful because it has been designed to be beautiful.