Should Women Be Allowed in Combat Essay Example for Free

Should Women Be Allowed in Combat Essay For centuries our women have been going into combat, so how come all of a sudden the conflict on whether they should or shouldn’t has become such an uproar. When the women in tribes fought over food and men during our beginnings, those women were undoubtedly in combat. And as the centuries went on, women warriors were not considered that unusual, for example at least 400 women soldier fought in the civil war along side their male comrades, only to be know there gender once killed. So how is it that in today’s society, we are so caught up with the though of women making their way into a male dominant world. Some say it is that women could not deal with the emotions of killing another human being, that we are not mentally strong enough to handle the conditions of a war zone, and although physically they may not be a mans equal but when shooting a gun and being shot at there is no difference. Statistics have not been able to prove that men would be better at the military jobs, but only that history shows the solitary members of the army being men. However with modern technology warfare has greatly evolved and it relies more on So how is that our on There fore howcome, our main arugment is that â€Å"women are not strong enough to fight, women are not capable of the emotions brought through war† This helps to show that women in combat are nothing new, and it is only modern times that we have thought of women as fragile and over emotional. Real women have saved lives, gone in to space, fought wars, invented, financed and designed everything from nuclear fission to radium, and from DNA to COBOL. Real women have overcome as many, if not more, obstacles and hardships than have men. Women pioneered, starved, reigned, battled, spied, strategized, and taught, doctored, nursed, reared families, started churches, and won political rights, yet few magazines, books, movies and television productions tell these stories. Its not a gender thing, its not a sex thing, its not a strength thing a highly trained, highly intelligent, strongly motivated person can do any job the military has to offer and do it well. After all, the Amazons didnt cut off their breasts any more than the Legion of Thebes cut off their testicles and both groups won battles galore! Women have been fighting for the right to be seen mentally and physically equal to the men in the Military, however how can they be seen as equal when the basic physical test has been altered so there is a chance for some women to be accepted in. Women on average only have 60% of the physical strength of men, and when put to the test the top 20% of women equaled to the bottom 20% of men. Men are taught to honor and protect women, boys are taught not to hits girls. I think this makes good sense and is an essential element of our civilization. Sending women into combat utter destroys those values and morals. Women are not suited by temperament or by physical characteristics for the highly aggressive, ultra-violent pursuit of victory in battle. Much of an army’s success depends upon intimidation of the enemy. A force composed of women is far less intimidating than one consisting of macho men. Intimidation of the enemy saves lives in wartime. Already, the side effects of abandoning traditional female sterotypes – likes the notiona that giels are extremely sensitive or have a unique role in nurturing an protecting children are apparent however girls are increasing becoming more in touch with their aggreseive instincest, leading to more girl on girl physical violence. Women should have every right to serve the country, however I do feel that service should stop when it come to front line battle. And those determined to make it to the front line should have to meet the exact same physical and mental critera of those as men. Australia is so terrified of being accused for sexism that we refuse to acknowledge that most of us shudder to the idea and thought of women being sent of to war. If a draft was reinstated, the women who have so called fought to show how men and women can be equal have now placed every other women in a position they were not fighting for.

Explanation of theme

Explanation of theme Explanation of Theme The theme of this spring Carnegie Hall program is painful love. Whether unrequited, long distance, untimely ended, or secret, the types of love represented by the songs on this recital are painful to each of the narrators in a profound way. Program Notes Henry Purcell, an English Baroque composer, began his studies at a young age as a chorister in Westminster Abbey, later attending the Westminster School and receiving the position of organist at Westminster Abbey in 1676. He began composing at nine years old and in all, composed 65 strophic songs, 148 theatrical songs, and four main operas, including the famous Dido and Aeneas. By 1690 he was considered a full time composer for the theatrical stage. â€Å"Not all my torments,† the first song of the program, comes from Purcells Gresham Manuscript and is said to have been written around 1693. It is one of the early composers most melismatic pieces and only utilizes four lines of text from an anonymous source, describing a lovers despair at his unrequited love. The second song â€Å"What shall I do?† is derived from Purcells opera, Dioclesian, a tragicomedy in five acts written in 1622. The opera is based on the play The Prophetess by John Fletcher and Philip Massinger. Th e librettist, Thomas Betterton, an English actor born around 1635, had an extensive acting career and collaborated efficiently with Purcell on Dioclesian. â€Å"What shall I do?† appears in Act III of the opera, at which point the character asks what he can to do show Aurelia, his love, the way he feels about her without pushing her away. The final Purcell song is â€Å"Draw near, you lovers,† poetry by Thomas Stanley. Stanley, English author and translator, wrote â€Å"The Exquies† in 1647, from which the text of the song is derived. The narrator describes the pure sadness he feels about his experiences with love and that even in death he feels the turmoil of his misery. The next set of songs is by Italian bel canto composer Vincenzo Bellini. He was a child prodigy and began composing at six years old, later continuing his studies at the conservatory in Naples under Nicolo Zingarelli. Considered the â€Å"quintessential composer of bel canto opera,† he wrote 12 operas, of which La Sonnambula and Norma are considered his greatest. The four songs on this program are all considered composizioni/romanze da camera, which are songs written for the amateur singer and comparable to miniature arias, with little thought to the fusion of poetry and music. Dedicated to Countess Sofia Voina, â€Å"Il fervido desiderio† describes the narrators longing to see his lover. â€Å"Il fervido desiderio† is no. 1 of Bellinis Tre Ariette. â€Å"Vanne, o rosa fortunata,† number 2 of Sei Ariette, tells the story of someone who envies a rose because, unlike him, it can rest on the bosom of Nice, his true love. In â€Å"Vaga luna,† an arietta also from Bellinis Tre Ariette – number 3 – the speaker sings to the moon of the longing he feels for his far away lover and asks it to relay those feelings to her. The final song of the set is â€Å"Per pieta, bellidol mio,† number 5 from Sei Ariette, in which the speaker begs for his lover to not say he is ungrateful and acknowledges the pain he feels because of his love. The piece that begins the second half of the recital, â€Å"Ah! Mio cor† from Handels Alcina, is sung by the character Alcina. Although the character is a soprano role, the aria can be sung by mezzo sopranos as well. Alcina is a sorceress who seduces every knight that arrives on her island and casts a spell on the knight Ruggiero, who then falls in love with her. The aria appears in Act II, Scene 1, at which point Alcina finds out that Ruggiero has escaped from her and describes her pain and unhappiness. Alcina is based on Ludovic Ariostos Orlando furioso, an epic poem set around the time of Charlemagnes rule and is an opera seria consisting of a prologue and four acts. The composer, G.F. Handel, was German-born and at a young age, was already proficient on the pipe organ and harpsichord; he studied composition and the keyboard with Friedrich Wilhelm Zachow. Later moving to Italy and working for the Medici family in Florence, the prolific composer is best known for his numerou s operas, oratorios, and concerti. The â€Å"La Maja dolorosa† songs are derived from Enrique Granados Coleccion de tonadillas, written in 1910, poetry by Periquet. Granados was a Catalan born Spanish composer influenced strongly by the painter Francesco Goya and is well known for his tonadillas, which are short songs and scenes about everyday life that are written in the vernacular and not danced. These three â€Å"La Maja dolorosa† songs trace the terrible feelings a woman experiences after her lover has passed away.

The Convergence Of Television Networking Media Essay

The Convergence Of Television Networking Media Essay The long-indicated convergence of broadcast TV and internet is reaching a tipping point. Viewing TV text via internet has changed PC savvy TV viewers expectation dramatically. The rise in synchronized use of internet and TV has resulted in a unique off screen and on screen relationship of users with TV content (Grady, 2010). Gradys view of Television describes onscreen engagement of audience with online TV content and off screen interaction amidst peers and friends that Jenkins (2006) terms as water cooler conversations. The onscreen and off screen experience together brings the sociability factor among viewers that supports the water cooler conversation. TV cultivates sociability in many ways (Lull: 1990) for instance, TV plays a vital role in constructing and maintaining interpersonal relationship amongst family and social units. Likewise, when TV content is viewed on websites and other networking sites, it sparks sociability amongst users that influence users to react in numerous ways. For instance, Spoiler fandom of TV shows Survivors was one of the forms of users that used sociability to spoil the show. Although, fandom is not the only form practiced on networking sites, but many more that influences users to build a community around a specific TV content. Online TV content cultivates sociability in networked communities and gives a platform to practice Mc Luhans (1874) living room experience. But online sociability has charted changes in traditional concept of TV and audience. As Fiske (1987: 63-4) states revaluation of viewer requires a revaluation of text. Hence such a convergence needs to be studied in context to dramatic changes in TV industry such as changes in production, distribution and content management. This section of my literature review highlights dramatic changes in TV and TV entry in a post network era. The section also makes a general understanding about TV culture and TV (content) flow. A separate section discusses proliferation of TV text across social networking sites and social use of technology with relevance to online viewing. 1.3.1 Television Concepts Fiske (1987:1) defines TV, a bearer/provoker of meanings and pleasures, and of culture as the generations and circulation of variety of meanings and pleasures within the society. TV as culture is deeply interwoven in our society that it persistently produces and reproduces; meanings and pleasures and their distribution influences audience to behave in a desired way. Meanings are interpreted differently by audience and are part of flow of TV that are experienced by viewers ( Fiske: 1987,15). Audiences are makers of meaning; consume TV text as readers that are capable of producing meanings and pleasure with respect to socio-cultural frameworks ( Fiske: 1987,17). Therefore, to understand audience, TV needs to be understood as culture and a flow that extends meanings and pleasures to meaning makers in social structures. TV as Culture Culture is complex and difficult to understand, it signifies set of values acquired by set of social groups that results in patterned behavior. Theorist like Richard Hoggart (1957), Raymond William (1958) and EP Thompson (1968) has contributed much to the concept of culture. Hall Jefferson (1976, hall.et.al) states, culture is multi-faceted and plural that contains element from past and layers within it. A culture is a culmination of past and present that shapes existing ideas and insights in a society. Culture is diverse, versatile and contains popular forms of dominant culture in a society (Matthew, 1869). As Turner, explains culture is part of our lives that are so powerful and unquestioned that it almost goes invisible and unnoticed (Turner, 1990). Similarly TV and its text has become integral part of our culture that induces viewers to become readers. Television, its content and the industry forms significant aspects of our culture that affects social structures in many ways. TV has become one of the primary forms of culture in most industrialized society (Kompare, 2002). TV as flow Williams (1958) determines flow; a technology and a cultural form. Flow in context to TV, refers to the movement from one program to other or from one segment to the other. Network channels (producers) hold audience via flow of TV text from one interesting segment to another interesting segment making flow continuous. Kompare (2002) explains flow, a broadcasting property that constitutes the overall experience of broadcasting on the minds of audience. Network channels use flow as a strategy to overcome gaps created by commercials and public message; to grab the attention of audience to fill up those gaps and breaks by moving to another program or a segment of a program making viewing experience as effortless endless experience. Gaps are the visible characteristics that define television experience. Williams (1958) believed gaps are not mere gaps but are planned breaks that happens because of interaction between television and audience, he termed it as planned flow. Flow relates to th e appointment based television that involves audience to experience, TV as an endless narrative flow that intensify their continuity. Continuity engages and sustains audience that results in economic exchange, gratifying needs of network channels (advertisers) and audience. Engagement with TV results in cultural capital where as financial front releases economic capital that is necessary for TV to function as culture good andeconomic good. Flow is an essential concept for the growth and survival of TV as culture in a social structure. John Ellis, John Fiske, Jane Feuer, Richard Dinest, John corner and many others have challenged the operations that Williams described in the process of contributing to the formation of discursive field of flow (Urichho, 2004). Corner (2003) argues flow is a pessimistic discourse of TV culture that disregards television characteristics as a diverse medium. Ellis (1982) discusses the scheduling of different genres of programs that are organized in a TV network should be focus of study. His argument focuses on schedule (time) other than programs (flow) as determined by Williams and emphasizes how a different genre of programs gets fit into scheduling of television by organization of time is more relevant than movement from program to program. His way of determining flow underlines the concept of audience that engage themselves in different ways, provided what has been offered to them. This signifies not only how time handles text but how time passage in the text has imbrications on the life who viewed a particular content. Thus, time is an important factor in the study of TV flow. Flow to be understood in present TV culture, it needs to be studied in relation to current advancement in technologies and new digital systems that has converged different mediums at a single platforms. With introduction of converging technologies, so called mass communication mediums , including TV does not always flow ( Kompare : 2002). TV has come long way from traditional form of viewing TV text that was time based and continuous. New media offers content as flexible package than continuous narrative wiping away factors such as when, where and how that has charted changes in the identity of television as culture. Urichho (2004) sketches flow, a fundamental shift in the interface between television and viewer and so in the viewing experience. He describes flow as an interface and explains how the introduction of metadata system and filter technologies has resulted into a new kind of interaction that suggests TV has entered to a new phase. New devices have provided tools to capture television text and produce ways of asynchronous viewing that has altered the interaction of medium with the culture in many ways (Lotz: 2007:35). New mechanism to view varied TV text has charted changes in the concept of flow making it flexible and malleable. The current phase shows us deepening convergence of technologies at single platform and TVs shift from broadcasting to other modes of carriage like VOD, cable, satellite has given an opportunity to distribute content to wider platforms that reaches beyond the audience of broadcast TV. Recent BARB figures of 2009 indicated that most of the people in UK, recorded the first episode of fifth series of Lost (Guardian, 2009). The distribution of TV text to various alternative carriers has affected TV, its identity and TV as a cultural form. TV as culture is transformed by recurring changes in its components such as TV text, changing preferences of audience, advancement in technologies and network channels stance to produce relevant content in accordance with socio-cultural frameworks. For instance, a popular broadcasting network like BBC or CBS when started uploading programs on their websites, audience discussion rise from dinning room to virtual communities, effecting culture in a different way. As discussed, Television is still evolving; its identity is unstable (not fixed). Its difficult to define what television is and what it will be in near future and what changes it will pose to the culture. Urichho (2004) discusses the difficulties approaching TV as he cites Heath (1998; Urichho : 2004,165) who states increasing inadequacy of existing terms and standards of analysis bounds TV with a specific bound of representation, a certain coherence of object and understanding TV in a complex social-political-individual meaning. TV as flow has been transformed by everyday technologies, economy and by network channels posing specific bearing on culture. To conclude, flow is an essential concept for the growth of television as a culture in a society. Although, many scholars has interpreted flow in different ways, but the concept of flow remains vital to the critical understanding of the medium. . 1.3.2 The changing television The convergence of broadcast model and broadband has defeated traditional appointment based television and has produced a new avatar of the medium. The series of transformation in the medium has changed television over the time, changes in terms of distribution of TV content across different media platforms due to technological convergence and changes in TV content to gratify entertainment needs of varied niche social sets of audience. The broadcasting model in no terms can be stated as single technological medium, thereby affecting social and cultural practices that have grown around the medium over the time (Askwith: 2003). Mc Luhans( 1978) living room experience refers to the culmination of social experiences among family members (audience) lasting an evening. When TV became a product of convergence culture, TV audience discovered new ways to engage with TV content via internet, mobile phones and I phones. Personal computers when added to techno mix convergence; TV audience got a platform to expand their social experiences across variety of channels and engaged themselves with TV content as never before. Loyal viewers used these platforms to contemplate about and discuss varied things about TV content such as characters, plots, locations etc resulting in a never ending collective intelligence (Jenkins: 2000) that engage users in different ways across different social platforms. The distribution of TV text to different channels (mediums) and platforms has designed content as malleable packages in accordance to varied media outlets. Jenkins (2000: 95) describes such a phenomenon as transmedia storytelling, as he explains TV content in the present era is more of a story telling experience involving viewers in different ways. He discusses about popular media franchises such as the matrix, Harry potter, Star Wars and states that such media content are entertainment for convergence age that integrates multiple texts to form a single narrative where each text lays its own individuality and originality. In other words, a transmedia content when unfolds to different media outlet, each text (medium) should be able to contribute solely to respective media franchise, for instance in Matrix a film offers a more immediate rapport with audience where as matrix game would involve players in much different way as experienced in film. Thus it reveals that each medium has got different characteristics and engage audience in different ways. Distribution of TV text across different channels gives rise to new experiences and new ways of engagement with the medium. Not only changes in modes of distribution have contributed much to the changed broadcast model of TV, but also its content has transformed over the years. Mapplebleck (1998) describes a general shift from general formats of TV shows such as current affairs, daily show to a more factually based light entertainment programs. This shift was a direct result of changes in culture -media and popular culture, and the space shared by media and social publics. Although, network channels produce TV text in accordance with the entertainment needs of the audience, but experiments on new ideas and concepts play a vital role in gratifying entertainment needs of existent audience and grabbing new audience. The biggest implication of convergence has been the distribution of national identity content to global media markets thereby removing the boundaries of exclusivity and availing content on multiple channels has resulted in cross-cultural interaction ( Jenkins : 2000). Indian Idol much on the lines of American Idol (reality show on Sony TV India) has become a hybrid format in many countries, with a tint of socio-cultural frameworks practiced at each place. Such experiments with the broadcast model have lifted audience from the monotonous everyday routine soap operas to range of interesting formats that are completely new to them. This phenomena has been described as a shift towards first person media (Dovey: 2000) and a post documentary culture (Corner: 2000). With changes in content, there have been major changes in the production techniques to engage audience at different levels of pre production, production and post production. New production practices with TV literate fans have fo stered changes in the way fiction series construct story world (Scones: 2008:67). Sometime various textual strategies are employed for a direct interaction between producers and audience to build rapport with audience. Network channels apply strategies like distribution of content to various platforms, content management and changes in production techniques to engage audience in different ways at different levels, for instance, CBS has become the most viewable network by telecasting some formulaic crime and drama series like survivors and early days of CSI (Lotz: 2007:215). Jenkins (2000:25) adds Survivor is a TV for internet age-designed to be discussed dissected, debated, predicted and critiqued. Survivors (reality show on CBS) brings a new lively format where contestants competes in side the show and show lovers (audience/fandom) competes outside as spoilers to leak the information inside out. The transformation in TV content has affected audience activities and engagement with the medium in numerous ways, moving to a lean forward approach other than sit back approach as practiced by passive audience (Urichho: 2004). Fiske (1987:73) confronts the concept of TV audience as passive consumers and states; television audience might be incapable of influencing the content of TV programs, but the involvement with medium requires significant forms of audience engagement, such as individual viewer interpret TV text in accordance with socio-cultural frameworks to construct meanings to the text, social viewers (set of social group ex family, friends) that discuss TV text with friends and peers to find shared meanings and insights of cultural significance. Corner (1999) explains the pleasure of para-sociability, the enjoyment and excitement we derive from discussing TV content, Jenkins (2000) terms those discussion as water cooler conversation, a natural desire to discuss, express and exchange ideas. However, varied content appears on living room screen and all must not be relevant to an individual or a set of social group. Content must do more than to appear on TV to distinguish itself for better cultural relevance. ( Lotz, 2007:35). She suggests phenomenal TV that lays on the foundation of selected themes and topics that appears on multiple or varied outlet. Programs that achieve special conversation and break the cluttered media are relevant; they gain attention by word of mouth and resonates culture in many ways. As discussed in this section TV has come long way from traditional broadcast model and activities such as distribution, malleable content and changes in production techniques has changed the medium and has produced a new avatar. Transmedia storytelling has distributed content at different platforms with varying technology (specific medium with specific technology ex matrix film {different technology} book {different technology}) and national identity content to be transformed and adjusted in accordance with socio-cultural framework (American Idol in US Indian Idol in India). 1.3.3 TV in the post network era L.A. Times cites post network era as age of fast food TV.(Times, 2005).As Amanda describes, Television as a medium to be organized around networks(Amanda D lotz,2007:5)Lynn spigel cites a more comprehensive phase of TV in the post network era, ( Spigel, Lynn and Olsson,2004:2) indeed, if TV refers to the technologies, industrial information, government policies and practices of looking that were associated with the medium in its classical public service and three network age, it appears we are now entering the phase that comes after TV. Lynn Spigel notes TV to be reinventing in numerous ways, new platforms, channels; multiplicity of visual text at alternative medium has given many ways to think, what TV will be? The way we are experiencing TV needs to be addressed and how we will perceive TV in future needs to be defined. The social aspects clubs with the cultural, economic and institutional aspect to define the broadcast model which vary from place to place. TV cultivates sociability in many ways, Lull (J.Lull:1990) described TV as a vital force in constructing and maintaining interpersonal relationship between family and social units interacting normatively. Antonio(2008) adds audience decodes message on the basis of their identity and background, he adds Media are hegemonic institutions that work to secure social consensus by incorporating dissent and conflict(Antonio Gramsci,2008) Lull and Antonios argument can be seen with reference to the potential social and cultural environment within the medium context, that facilitate sociability among the viewers in the post network era. Technological innovations and society as a whole have been affecting the ways and means viewers experience TV and entertainment in general. As Amanda D lotz cites websters (Amanda D lotz,2007:15) who argues programming multiplicity resulting in audience fragmentation and polarization as new media make content available at different mediums. Cable networks creat es audience loyalty by associating themselves with a kind of genre combining with old genres to niche demographics of TV(Turner, 2001:4-6). Necessary modification and adjustment in digital transition technologies has shifted TV in to a new horizon. Henry Jenkins (Henry Jenkins: 2000, Amanda D lotz :2007:7) calls it a post network era where convergence is intersecting the broadcast model and revolutionizing the society. But I argue TV is certainly not loosing its grab, but the ways and means which are employed by the viewer as in how and where to view has convoluted, how we think and understand TV. I would rather call it a hybrid medium, whose offerings are becoming unique and platforms to showcase those offerings are versatile. Though many contemporary TV scholars tried to figure out TV in the post network era, many relates it to a cultural experience others technology. William Urichhio, maps broad changes in TV technology from old TV console to smart TVsystem. (Urichhio,2008:163) . Michael Curtin relates TV on more cultural grounds and argues that TV needs to be studied cross culturally to understand how TV has evolved in different cultural, economical, and industrial and regulatory conditions.( Michael Curtin,2008:272-275). The entire culture to view TV has been transformed. During the network era (before post network), sources were scarce and no alternative ways were available to receive TV content other than the network channels. With the emergence of the post network era, the restricted access reduced and more options got available to choose from. Technical innovations ranging from recording programs on DVD to downloading videos has brought up a change, with new ways of distribution. Networks delivered content irrespective of what, when and where at a minimal cost resulted a revolutionized way to view content. Lynn Spigel notes changes in programming and sponsorship are met with similar changes in the entire culture of watching TV.(lynn Spigel,2008:5).Jenkins transmedia storytelling, explains TV content is so designed that appear on various media outlet subjects for a flexible consumption (Henry Jenkins,2000:25). Convergence among TV, phones , social platforms offered at internet, presents a limitles s expansion of television presence by enabling reception of TV content almost anywhere. (Amanda D lotz,2007:50). Social platforms such as daily motion and you tube has redefined the role of networks by harnessing online video content. You Tube, when launched streamed about 35 millions video a day and drew the double size of audience (Los angles times.com:2006). As Amnda T Lotz cites Adam Berry, VP of bright cove, who explains online videos as treasures, its not only meant to watch your favorite shows, but to watch whole bunch of stuff which you havent seen. (Amanda D lotz,2007:137). Convergence culture(2000) proposed by Henry Jenkins offers distribution of national identity content for global distribution limiting the boundaries of exclusivity resulting in availability of visual text on multiple platforms and resultant trans media culture. TV in the post network era has offered flexibility in what, when and where to view and has opened up a vast arena to the audience, to practice TV viewing in different ways. TV text fuels a dominant way of thinking among its viewers; it communicates social beliefs and value of the society. I argue TV reincarnates with every technology, with every effort of Network/TV channel content to present diverse text across globe; making it available at different medium and viewers to make sense of visual text within the context of social, economic and cultural condition. The three elements which I described above; technology, Producers and viewers, moves in a cycle and has set the conditions for POST NETWORK era. 1.3.4Network/TV channel content on social network Social element might not be new to TV as J. Lull says, TV cultivates sociability in many ways (J.Lull:1990). But the concept of watching network/TV channel content online on social platforms has added a new social paradigm to television studies. Experiencing TV text with other functional tools embedded in social software like voice chat, peer ratings and integration with social media (networking sites) has engaged viewers in a unique innovative way. In past, many ethnographic researches have shown that people enjoy watching television as a part of socializing in groups. According to an ethnographic research conducted by Lora Oehlberg, Nicolas Ducheneaut, James D. Thornton, Robert J. Moore, Eric Nickell (2006), TV can foster multiple forms of sociability. To analyze the patterns of interaction of TV text, they categorized TV sociability as : direct (e.g. when chatting with friends and family while watching network channel content) or indirect (e.g. when discussing previously viewed programs). Mc luhans (1874) global village conveys the sense of synchronicity created by the electronic medium(TV radio) and the living room,he depicts an event where Television is ON, so as the sharing and continuous participation of members of living room, who discuss, debate and experience TV text in many ways. Mc Luhans(1874) global village highlights two factors that has formed the basis for communication in the current age: sociability in groups and simultaneity between the group and the medium. The idea of sociability and simultaneity in the internet age is same, what has changed is the positioning of participants and members, which has introduced complexities in the current communication process. Castells(2000) visionary idea of culture of real virtuality, explains this phenomenon better in which he explains we are not living in a global village, but in customized cottages globally produced and locally distributed. (Castells 2000: 370). Kitchen(1998) cites that one of the major outcome of internet is the interactivity of online relations based on reception of TV text. (Kitchen,1998:15). Henry Jenkins(2006) explains in convergence culture television provides fodder for so called water cooler conversations and online forums offer an opportunity for participants to share knowledge and expression (as original;Henry Jenkins, 2006:21). TV content leverage and integrate the wisdom of social networking, the combination of duo has resulted into a new type of interactive, participative and user-directed environment. Jenkins cites young people, forming communities using popular (social) media to expand their collective wisdom and from many types of publics (groups) to interact in an innovative unpredictable ways. For instance, in his very first chapter he takes us to the secret world of spoiling survivors, where he outlines the impact of reception of TV show survivors. He analyzes survivors fandom interaction with spoilers of the show calling it collective intelligence in practice.(Henry Jenkins, 2006:28).As he cites Pierre Levy who argues that one person might not know everything, everyone knows something that can bring some relevance to the discussion and leads to participation. (Henry Jenkins, 2006:26). In another case study, Jenkins(2006) discuss American Idol (a reality TV show made for audience participation). He cites participation in such communities not only leads to brand affiliation but empowers a control to assert their demands, which influences the show to move forward.( Henry jenkins:2006:80). American Idol popularity shows us the diversified context adopted by the network/TV channel producers to shape the programming and distribution to suit the consumption patterns of consumers. This reminds me of Derek Compare(2002) who says media content comes as malleable packages other than a seamless continuous narratives. The kind of changes introduced in programming gives a platform for interactivi ty and participation. Analyzing interactivity and participation jenkins writes, Interactivity refers to the ways that new technologies have been designed to be more responsive to consumer feedbackParticipation, on the other hand, is shaped by the cultural and social protocols (Henry Jenkins, 2006:137). So, the creators (content producers) decide interactivity, and users (content consumers) may interact with what is given where as participation allows users to become creators and consumers of the content. In this way both network operators and non network players create and capture value while dramatically changing how consumers interact about TV text on social platforms. With the rise of social platforms and new technological innovation, TV is changing. How we are experiencing TV is also transforming with introduction of online virtual communities (social publics) accessed by personal devices like mobile phone, I phones etc. Social publics form communities that extend beyond friends and peers, neighborhood, cities, countries, and across the continents. As Natalie Klym and Marie Jose Montpetit(2008:2) cites Robet putman(2000), who explains the phenomenon of social as a function of consuming and engaging in amusing activities in public spaces experiencing TV as Mc Luhans(1874) living room experience. Personalization of media device leads to granulation of media space where publics practice Mc Luhans(1874) living room experience on castells(2000) social morphology of networks. Putmans(2000) idea of social engagement contributes well to the TV experience on social networks and explains how individualization of technology enables contacts on social media. Emerging social platforms like joost , Hulu and many other embeds functional features like blogs, discussion forum , chat session and program rating to make online videos more meaningful and interactive. Facebook, orkut and Myspace has recently added video applications to adjust and adapt with more user generated environment. As Natalie Klym and Marie Jose Montpetit(2008:7) adds social network becomes a virtual operator performing a customized and personalized programming habits based on what a user or a community may like. For example, you tube automatically share an individual ratings, favorites, and more on Face book, Twitter, and Google Reader with YouTube Autoshare. (You tube). You Tube, a user generated social platform has grown accustomed to watch video on personal devices. Personal devices are paired and networked and results in a global virtual community, where every individual is interacting with every other. In this sense, personal devices (PC, laptop, I phone) etc and its personalization can be viewed as the foundation of new way to access TV content. Though still at early stage, but this new frontier of TV is evolving at a very faster pace and needs to be researched more. 1.3.5 Technology and social framework Technology has transformed the way, TV is today. Not only the structure, but TV as a medium, culture, industry has lot been changed since its inception. Though, TV has a long standing history with reference to technology; but my area of study concentrates on contemporary social technological innovations and models appropriate for understanding Tv text in relation to social media. Technology in simple terms: is by the people and for the people. As, Liela Green (2002:3) suggests that society is responsible for the development and deployment of particular technologies. Social determinism counters the notion of technology determinism and states society develops technology for the benefit and progress of human kind. I agree to Liela greens view and present an account Mc luhans technological determinism theory to mark the flaws that disturbs the ways in which society and technology interact. The appeal and problems can be viewed in light of a technological determinism theory by Mcluhan(Mc,luhans,1964) where he attempted to explore how culture is affected through various types of media? McLuhan believed that advances in technology of a medium will lead to change in a culture (Mc luhan,1964). From this, McLuhan states that a culture is affected by a kind of medium are being employed, that can be TV, radio, newspapers and magazines. Each medium defines, it own kind of standards like, in order to get information one can turn on TV, which is the most dominant form and can easily be absorbed by ear and eyes where as obtaining news over the Internet on the other hand can make the process complicated for those who are not computer literate. And in that case, if a person cannot translate experiences into the conscious then those experiences will be repressed and the message will be lost. Such was the case with, Alltop, which launched its Personalized Feed Reader. Alltop is an online magazine rack that

Summary of Expo Center :: essays research papers

An Informative Summary of â€Å"Japanese Hospitality Robots Debut at World Expo† Tsuno, Yoshikazu â€Å"Japanese Hospitality Robots Debut At World Expo.† 9 Mar 2005.   Ã‚  Ã‚  Ã‚  Ã‚  SpaceDaily 1 Apr 2005 . The 2005 World Exposition in Nagkute, Japan will present technical wonders to the public. The World Expo runs in the central Aichi region for six months starting March 25. Japan uses the expo to display its technological might. Interactive Robots on display will be the main attraction. The Expo includes robots that resemble young women, called Actroid, in information booths that speak four languages. Guest felt awkward due to Actroid’s realistic human features. The designers wanted the most honest reaction from the guest. Three versions of the Actroid with different faces will be mobilized at the Expo. Japan hopes Actroid will draw 15 million visitors to its industrial heartland. There are also security contingent robots on wheels and tiny colorful machines that sing. The Alsok guard robot has a touch panel in its chest to provide directions to visitors. If Alsok detects suspicious people it will try to scare them away with sirens and lights. Alsok can also detect fires and report them to a security center. For small children there is the child-care robot PaPeRo. With built-in cameras and microphones, it can recognize the faces of children and say their names. The PaPeRo also sings with children and quizzes them, recognizing who voice even if they try to trick it. With the expo running for six months, the public will see many advances in robotics created to interact with humans. Even thou we are able to see and interact with them, it will be some time before the public can purchase them. Japanese Hospitality Robots Debut At World Expo Japanese robot venture Kokoro's humanoid robot 'Actroid', able to recognize 40,000 phrases in four languages, Japanese, Korean, Chinese and English, guides visitors at a reception for the 2005 World Exposition Aichi in Nagkute near Nagoya, central Japan 07 March 2005. Japan will welcome the millions of guests at the World Exposition opening this month with hosts trained to greet them in their language, entertain their children and perform rap music with them - the gracious hosts are robots. AFP photo by Yoshikazu Tsuno. by Yoshikazu Tsuno Nagakute, Japan (AFP) Mar 09, 2005 Japan will welcome the millions of guests at the World Exposition opening this month with hosts trained to greet them in their language, entertain their children and perform rap music with them.

Willem De Kooning :: Biographies

Willem De Kooning Willem De Kooning had been widely acknowledged as one of the greatest painters of this century known for his daring originality. Several exhibitions in the U.S. and abroad have celebrated the artistic achievements of this eminent artist's 60-year career. My essay covers part of his early life with real focus on his late paintings. His last works, painted in the 1980s, as he was in deteriorating health have come under criticism by some critics. Willem de Kooning was born on April 24, 1904 in Rotterdam, the Netherlands. His father was a beer distributor and his mother ran a bar. At the age of twelve he became an apprentice at a commercial design and decorating firm. He studied for eight years at Rotterdam's leading art school. In 1926, de Kooning secured a passage on a streamer to the United States, illegally entering and settling in New Jersey. He quickly moved to Manhattan, painted signs and worked as a carpenter in New York City. Then in 1935, he landed a job with the Works Progress Administration, a government agency that put artists to work during the Great Depression. By the next decade, he had attained a place in the downtown art scene among his fellow artists. By the late 1940s, de Kooning along with Arshile Gorky, Jackson Pollock, Mark Rothko and Barnett Newman, began to be recognized as a major painter in a movement called "Abstract Expressionism". This new school of thought shifted the center of twentieth century art form Paris to New York. Willem de Kooning was recognized as the only painter who had one foot in Europe and one in America. He combined classical European training in Holland with a love for popular American culture. The restlessness and energy of American life was a source of great inspiration and passion for him. Gary Garrells, the chief curator at the San Fransisco Museum of Modern Art said, " He had the wildness of Pollock but mixed with the impeccable craftsmanship of the European tradition. He was not interested in style, he was interested in the process of looking and knowing and getting under the skin." Willem de Kooning, 93, was the last survivor of his famous peers. One would not have predicted for him a great old age. Among the leading figures of hard-living generation he belonged by temperament and talent to a romantic tradition of artists who burned the physical and psychic fuel of themselves with devastating speed and completeness. Few of de Kooning's closest friends and colleagues survived the harshness of the 1940s and

Flexicurity a Relevant Approach in Central and Eastern Europe Essay

Flexicurity Introduction   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Flexicurity is an integrated approach for endorsing security and flexibility in the labor market. Flexicurity endeavors to merge employers’ call for for a flexible labor force with workers’ call for for security. Employee call for security implies the confidence that the employees will not go through stretched periods of joblessness. Flexicurity is a new policy that is called upon because of the increased nee of security and flexibility faced by national governments, European Union, individual workers and companies, as well as sectors of industry. Legislators, policy-makers, employers and trade unions organizations have a strong call for new flexicurity policy concepts and models that guarantee to reunite the strategies of endorsing security and flexibility at the same time.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Flexibility and security has for a long time seen as incompatible, thus this new policy will be very significant in industrial relations. The EU aim of enhancing security and flexibility in the labor market is to achieve a competitive advantage and open knowledge-based economy across the world that is proficient of sustainable economic expansion with immense cohesion and more and superior job opportunities. The new flexicurity approach is common within the European Employment strategy. The European Employment Guideline 13 formulated in 2001, under the Adaptability pillar, clearly tackle both security and flexibility strategies and also welcomes social stakeholders to mediate and implement appropriate agreements to update the how work is organized, incorporating flexible working programs, with an objective of achieving high productivity, required balance between security and flexibility as well as competitiveness.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Flexicurity is very vital since appropriate balance between security and flexibility will increase productivity and quality of work, competitiveness and help corporations to adapt to changes in the economy. Flexicurity is important to European employment policies and update of EU labor law especially in the recent economy which is faced by increasing globalization, financial and economic crisis. The position of social dialogue and social partners is greatly emphasized in flexicurity. Swedish industrial relations and labor laws system is based on cooperation between stakeholders, self-regulation and collective bargaining. Collective bargaining is estimated to be 90% and trade unionization is estimated to be about 70 percent. Salaries and other job conditions and terms are set by collective bargaining. European Union member states apply different approaches to flexicurity depending on industrial relations, their labor laws, and social securi ty systems.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Countries implement the new flexicurity policy with an aim of cutting down market segmentation and enhance changes. Equal treatment of all employees can be attained via values of equal treatment and non-discrimination and appropriate reforms to the guideline of employment security and fixed-term occupation. Flexicurity policies call upon enterprises to make reforms on their existing laws and police in order to accommodate security and flexibility. Functional flexibility has led to a heated debate in the labor markets. In order to come up with effective flexicurity firms should examine the existing internal and external flexibility. Internal flexibility help employees to adjust labor input in case of transitory fall in demand while conserving jobs which are feasible in the long run. Flexicurity poicy can account for the resilience in many European nations especially helping them maintain low and stable unemployment rate. This is because fle xicurity protect employees from income losses connected to key lay-offs and plant closures. However, external flexibility of many firms remained unchanged for the last three decades. Research reveals that income losses of misplaced workers have reduced since the workers can get swift re-employment.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Flexicurity has faced many criticisms from the people who proposed that flexicurity was developed with an aim of eliminating employment protection legislation, but it encourages a suitable blueprint of employment protection legislation. Open-ended contract between an employee and the employer would be redesigned to incorporate gradual development of job security. The job protection would gradually build-up with the job term, until full job security is attained. The tenure track approach is very significant since it reduces the incidents of employees being trapped in less protected contracts. Reforms of the employment due to economic crisis are aimed at addressing length of procedure, bureaucracy, improve lucidity and make the procedure more dependable. The starting job protection policies may take into consideration notification periods, the procedural phase of dismissal protection and the amount of severance pay.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   European Expert Group on Flexicurity propose that use of fixed-term agreement should be reduced and undeclared work should be cut short as swiftly as possible by raising valuable inspections. It is crucial to acknowledge that outside the sphere of the European Employment plan, the open technique of coordination and Europe 2020 Strategy, the flexicurity policy has not yet brought up fresh legal suggestions associated to employment security. Flexicurity slightly regulate the employment security at EU level with an aim of achieving their main objectives and meet the requirement of member states in areas such as protection of workers whose employment contract is abruptly terminated. EU agreement of Fundamental Rights state that every employee has the right to safety from groundless dismissal as per the national and union laws and policies.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Flexicurity has been able to increase flexibility in the labor market while at the same time maintaining security via promotion of more employment opportunities and enough ground of employment benefits. Counties with solid employment protections tend to go through fewer incidents of labor market disruptions as compared to nations with weaker employment security. Flexicurity has dominated over the famous Commission’s labor market policy prescriptions. The interest of flexicurity in labor market originated from Netherlands and Denmark which serve as an example. These countries enjoyed the lowest unemployment rates in the global economy crisis in Europe while maintaining adequate unemployment benefits. The main reason was that Denmark and Netherlands emphasized on active labor market measures accompanied by modest employment protection. European Commission has gradually incorporated flexicurity policies when developing its labor market policy instructions and has persuaded the EU members to develop labor market laws that conform to flexicurity plan. In endeavors to direct development of national policy, the commission highlighted four pillars of flexicurity which include: flexible and dependable contractual agreement between employer and employees, comprehensive long-lasting learning scheme to enlighten the workers, successful active labor market policies and updated social security systems.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   In conclusion, flexicurity is a very significant strategy that will help countries to cope up even during economic hardship. Flexicurity also offer the employee allows flexibility at work and at the same time maintaining security. This ensures firms acquire competitive advantage, increase productivity and quality of work and help employees and corporations to adapt to changes in the economy. Nations are called upon to incorporate flexicurity policy in their labor markets so that they can enjoy various benefits associated with this new strategy. However, appropriate measures must be undertaken to ensure there is the required balance between security and flexibility. References Cazes, S., & Nesporova, A. (2006). Flexicurity a Relevant Approach in Central and Eastern Europe.. Geneva: International Labour Office. Flexicurity: perspectives and practice.. (2010). Dublin: European Foundation for the Improvement of Living and Working Conditions. Source document

International Business Climate Essay

1.0 Introduction Business climate refers to the economic environment in general which depicts how businesses and business activities are supported by the government as well as the lending institutions. Business climate is also a reflection of the attitude of the labor unions toward inflation rates, taxation rates, employers and other issues which affect business activities   in a given region or country. Switzerland ranks the most attractive country in terms of having the most conducive international business climate which has attracted tremendous investments and highly skilled labor from all over the globe. The country enjoys a safe and stable working environment and most small and medium enterprises are located in the Greater Geneva Berne area (GGBa) which has an excellent international business track record (ggba-switzerland.ch, n.d). Switzerland experienced one of the weakest economies in the Western Europe in the 1990s during which the annual GDP growth averaged 0% between the years 1991 and 1997. A gradual economic growth was witnessed in the beginning of late 1997 and it reached a peak in 2000 with a GDP of 3%. Between 2001 and 2003, the economic growth slowed down but began to grow at 2.5% per annum since the year 2004 until the latest global economic crises which have had a great impact on its economic growth (state.gov, 2010). Being at the heart of Europe, Switzerland is a hub for the crucial communication systems which are indispensable in the industrial Europe. Therefore, the expansive modern and reliable infrastructure encompassing the country facilitates an extremely high number of international and local business activities. The good international business climate of the country has been influenced by several factors which entails economic, cultural, legal, and political issues. It is therefore the obj ective of this paper to discuss these issues with reference to Switzerland as a country. 2.0 Economic Climate Trade is the backbone of Switzerland’s prospering economy which has made its per capita income be among the highest globally. International climate highly favors the export markets upon which the country depends for generating enormous income while at the same time facilitating the imports of raw materials which are essential for the expansion of the range of goods and services available in the economy. Economic climate is also made better by the liberal trade and investment policies which has attracted many investors in addition to the well defined commercial law and well developed legal system. Switzerland is a member of several international economic organizations including the International Monetary Fund (IMF), World Trade Organization (WTO), Organization for Economic Co-operation and Development (OECD) and The World Bank (state.gov, 2010). Important sectors of the economy include tourism, engineering, banking and insurance which have a heavy influence in the economic policies of the country. The existing trading companies enjoy unique expertise from Far East, Africa, Middle East and Eastern Europe. The highly developed tourism industry gives the country’s market the   opportunity to trade in services and equipment related to tourism. The export industry provides the economy with about half of the country’s corporate earnings with the largest trading partner being the European Union. The trade and economic barriers between Switzerland and the EU are minimal hence facilitating more business activities. The U.S   is a major export destination of products from Switzerland and also a major source of imports of raw materials for the country. U.S is the second-largest importer of Swiss goods after Germany and also is the largest foreign investor in Switzerland (state.gov, 2010). 3.0 Legal Climate The business regulatory system in Switzerland is highly transparent and regulations affecting the activities of both local and international investors are applied with no discrimination. Previously, cartels were common in the economy whereby companies in various industrial and service sectors through industrial and trade associations organized themselves into vertical and horizontal cartels. The new law governing the formation of cartels ensures that such cartels do no harm to the society and the economy. The adoption of this law which includes the authority to stop anti-competitive behavior without prior warning has facilitated an extra GDP growth of 0.5-0.8% per annum following the reduction of harmful cartels (Dimireva, 2010). The legal system governing international and local business activities has propagated an efficient capital markets and   portfolio investment. One of the largest markets for foreign borrowers is the Swiss franc dominated foreign bond market and generally there are no restrictions on the sale or purchase of   foreign equities and currencies. Forward transactions between Swiss nationals and foreigners can be carried out at the prevailing market rates. The liberal market of Switzerland is protected from being misused as a platform for criminal activity and money laundering by regulations which serve to adjust particular aspects of portfolio investment. A good example is the signing of OECD Anti-Bribery Convention in 1997 which started operating in 2000 (Dimireva, 2010). The effective legal and policy framework of Switzerland has excelled in combating corruption which if unchecked can adversely impact the international business climate. Following implementatation of laws deterring corruption, for instance the U.S firms which have invested in Switzerland have not issued any complaints about cases of corruption. There are highl y effective investigative and enforcement mechanisms which deals with any domestic corruption and this has attracted more international investors who have developed confidence in the Swiss economy. 4.0 Political Climate The Swiss political system is highly stable and effective since both the county and state government bodies possess high levels opf control. The system has been structured in such a way that all the rural and urban areas of the country have access to government officials for requests or essential information. A referendum which requires a popular one million signatures is enough to give people the power to demand certain changes concerning business practice, the established law or the environment. One of the main contributors to the country’s political stability is the stability existing within different institutions.The Swiss National Bank for instance is a highly steadfast finanacial institution which has strengthened and stabilised the Swiss Franc. Political stability is further stabilised by the fact that Switzerland   is a representative democracy in which the major governing body is the Federal Council made up of seven persons. The government is considered to be trustw orthy and honest by the populace (mkeever.com, n.d). 5.0 Cultural Climate International business climate in Switzerland is greatly influenced by the etiquette and cultural expectations in the Swiss professional environment. In order to develop productive working relationships and successful business strategies, it is a preriquisite to understand and respect the various aspects of Swiss culture. The country offers Communicaid’s Doing Business cultural awareness courses to enhance the creation of fruitful business relationships between foreign business professionals and the Swiss clients partners and colleagues (Guliyev, 2007). Such courses are essential in ensuring competitive advantage which offers foreign business people with the ideal opportunity to comfortably do business in the country. In addition, there are a wide range of cultural and leisure activioties which has further facilitated the progress of the country in doing intyernational business. The ideal cultural climate has prompted a large number of   sports lovers, business travellers an d nature enthusiasist to visit the country all year round which has elevated international business relations a notch higher. 6.0 Conclusion The creation of an enabling international business climate is a collective task of various institutions and aspects of the society. These aspects must comprehensively address cultural, political, economic, and legal situations of the particular country which is willing to create a conducive business environment. Switzerland is a good example of a country in the heart of Europe which has embarked in creating such an environment which consequently has attracted huge investments. The creation of   an excellent international business climate may not be as challenging as sustaining it and therefore firm political, legal, cultural and economic strategies are indispensable in achieving it.