The Crimes of Betty Lou Beets

The Crimes of Betty Lou Beets Betty Lou Beets was indicted for killing her better half, Jimmy Don Beets. She was associated with having slaughtered her ex, Doyle Wayne Barker. Beets was executed by deadly infusion in Texas on February 24, 2000 at 62 years old. Betty Lou Beets Childhood Years Betty Lou Beets was conceived in Roxboro, North Carolina on March 12, 1937. As per Beets, her youth was loaded up with horrendous mishaps. Her folks were poor tobacco ranchers and experienced liquor abuse. At age three she lost her hearing subsequent to getting the measles. The inability additionally influenced her discourse. She never got listening devices or uncommon preparing on the most proficient method to manage her inability. At age five Beets claimed that she was assaulted by her dad and was explicitly mishandled by others all through her youth years. At 12 years old she needed to leave school to deal with her more youthful sibling and sister after her mom was regulated. Spouse #1 Robert Franklin Branson In 1952, at 15 years old, she wedded her first spouse, Robert Franklin Branson, and they had a girl the next year. The marriage was not without inconvenience and they isolated. Beets endeavored self destruction in 1953. Afterward, in the wake of confronting executionâ for the homicide of Jimmy Don Beets, she depicted her union with Robert as injurious. Notwithstanding, the two stayed wedded until 1969 and had five additional kids together. Robert eventually left Betty Lou which she said crushed her both monetarily and inwardly. Spouse #2 #3 Billy York Lane As per Beets, she didn't care for being single and started to drink to pursue away the depression. Her ex did little to help the youngsters and the cash she got from government assistance organizations was deficient. By late July 1970, Beets was hitched again to Billy York Lane, yet he, too, demonstrated to ever be harsh and the two separated. After the separation, she and Lane kept battling: he broke her nose and took steps to execute her. Beets shot Lane. She was gone after for endeavored murder, yet the charges were dropped after Lane conceded that he had compromised her life. The show of the preliminary more likely than not revived their relationship since they remarried directly after the preliminary in 1972. The marriage kept going one month. Spouse #4 Ronnie Threlkold In 1973 at age 36, Beets started dating Ronnie Threlkold and they were hitched in 1978. This marriage didn't appear to turn out to be any superior to her past marriage. Beets purportedly endeavored to run Thekold over with a vehicle. The marriage finished in 1979, that year Beets, presently 42, completed thirty days in the area prison for open vulgarity: she was captured at a topless bar where she worked. Spouse #5 Doyle Wayne Barker Toward the finish of 1979 Beets met and wedded another man, Doyle Wayne Barker. At the point when she separated from Barker is unsure, however no one knew his slug ridden body was covered in the terrace of Betty Lous home. It was later established that Doyle was killed in October, 1981. Spouse #6 Jimmy Don Beets Not exactly a year had gone since Doyle Barker’s vanishing when Beets wedded once more, this time in August 1982 to a resigned Dallas fire fighter, Jimmy Don Beets. Jimmy Don endure the marriage for simply under a year prior to she shot and executed him and covered his body in an uncommonly fabricated wishing great in the front yard. To shroud the homicide Beets requested assistance from her child, Robert Bobbie Franklin Branson II, and her little girl, Shirley Stegner. Capture Beets was captured on June 8, 1985, very nearly two years after Jimmy Don Beets disappeared. A  confidential source offered data to the Henderson County Sheriffs Department that showed Jimmy Beets was perhaps killed. A court order was given for Betty Lou’s home. The assemblages of Jimmy Beets and Doyle Barker were found on the property. A gun found in the Beets home coordinated the kind of gun used to fire two slugs into Jimmy Beets and three into Barker. Children Admit InvolvementWhen agents talked with Betty Lou’s youngsters, Branson and Stegner, they admitted to some association in assisting with disguising the killings that their mom had submitted. Stegner likewise affirmed in court that Beets advised her of her arrangement to shoot and execute Barker and that she discarded Barkers body. Robbie Branson affirmed that on August 6, 1983, he left his parents’ home on the night that Beets revealed to him that she was going to slaughter Jimmy Don. He restored a couple of hours after the fact to assist his with mothering dispose of the body in the â€Å"wishing well†. He planted proof to make it appear as though Jimmy had muffled while angling. Stegner affirmed that her mom called her to her home on August 6 and when she showed up she was told everything had been dealt with concerning executing and discarding the Jimmy Dons body. Beets response to her childrens declaration was to blame them as the genuine enemies of Jimmy Don Beets. For what reason Did She Do It? The declaration given in court focuses to cash as the explanation Betty Lou Beets killed the two men. As indicated by her little girl, Beets disclosed to her she expected to dispose of Barker since he claimed the trailer in Gun Barrel City, Texas that they lived in and, if they somehow managed to separate, he would get it. With respect to her murdering Jimmy Don, she did it for protection cash and annuity benefits that he may have had. Liable Beets was never gone after for the homicide of Barker, yet she was seen as blameworthy of capital homicide of Jimmy Don Beets and condemned to death. Execution After more than 10 years of claims Betty Lou Beets was executed by deadly infusion on February 24, 2000, at 6:18 p.m. in the Huntsville, Texas jail. At the hour of her passing she had five kids, nine grandkids and six incredible grandkids.

FUTRONICS Inc CASE

Presentation Background of the Case FUTRONICS Inc. is a privately owned business situated in Lexington essentially sorted for modems, screens, plate drives and terminals. It is besides in to deals and administrations. This case is about the substitution of Futronics’s focal office stores by an outside specialist organization. For this situation flexibly the executives director have an open door for exploring chose redistributing in-house administrations. Cost Status of the Company Description| Making Cost in Total| Buying cost in Total| Size of organization: Raw | 2 Billion Dollar| | Cost of Goods sold| $ 900,000| | Normal Inventory (500 things in stocks)| $ 140,000| | Cost of Personnel and Space| $ 200,000| | Period of execution (Time Line) Description| Year| Target Serving Areas| Central Store Created| 1950 (center of)| 21 territory sites| | Present| 42 region sites| Place of execution Futronics Inc. is situated at Lexington, Massachusettes. Partners Analysis: 1. FUTRONICS Inc. 2. Focal stores 3. Flexibly Management Department 4. Administrator of Supply Management 5. Workers 6. Buyers 7. Government bodies 8. Sellers 9. Budgetary division 10. Outside store administrations 11. Litton 12. Boise-Cascade 13. L. E. Muran 14. Inlet state office 15. New England gracefully 16. Different firms in Boston Focus regions 1. Settle on or purchase choice 2. Multi-useful group 3. Hazard investigation 4. Quote 5. Time Estimate 6. Morals Scope of work The organization has been into the gracefully chain the executives business for over 60 years yet in the ongoing years there has been decline in deals because of overwhelming rivalries. So the organization is considering re-appropriating focal office stores as a piece of their cost decrease program. Presently the organization is in the commencement and arranging phase of obtainment and agreement the executives. The obtainment division administrator is into the through research and investigation on the all the outer and inward factors to see whether this redistributing step would be gainful for the organization as far as cost, time plan, hazard, quality and ethic The case shows that the organization despite everything is in the Plan Procurement Phase and has been doing a profound examination and research from alternate point of view and edge to see in the case of re-appropriating is a decent technique to push forward to build deals and cost lessening system. Plan Procurement Management Plan Procurement Management manages two periods of acquisition the board starting and arranging. Starting * The organization concocted an activity (thought) on the best way to diminish the overhead corporate expense to build the overall revenue. * Carried out some exploration to examine how different contenders are tending to this issue. Arranging * Develop seller investigation relative diagram with choice mod els †Scoring Framework. Allude Annex 1. * Analysis on Risk Management Areas, for example, hazard distinguishing proof, chance inclusion all the while, and so forth * Analysis on quality administration territories †regardless of whether they could get a similar quality or not. The amount they have to settle on the quality * Developed the similar examination outline on dynamic procedure dependent on the engaged zones: Advantages and Disadvantages investigating from both viewpoint Make Decision| Buy Decision †Outsourcing| Advantages | Advantages| Cheap cost of merchandise when mass buy| Less overhead cost| Quality Control| More focus on other part of the work| Transparency| | Good quality crude materials †quality output| | Chances of getting more business| Faster conveyance service| Good name and notoriety †Goodwill| | Product cost †less expensive| | Make Decision| Buy Decision †Outsourcing| Disadvantages| Disadvantages | High working cost| Conflict may emerges with vendors| Lay off of staff| Less Transparency| Unethical (as one of the worker is genuinely challenged)| Not convenient delivered| More labor required| Less quality crude materials | Loose the current client †Risk| High benefit margin| | Finish products may be expensi ve| | Long term contract | Acceptance rules The organization is taking a critical choice albeit through investigation has been finished utilizing different apparatuses and methods. Be that as it may, there is consistently a dread that what occurs straightaway. How might be the reaction from the customer and partners? Since now the organization has gotten needy, what might be the degree of trust? Extension 1: Comparative Evaluation Sheet for Selecting Vendor Evaluation Criteria| Company Name| | Litton| Boise-Cascade| L. E. Muran| Bay State Office| New England| Total Score| Weighted Score| Sample Catalogues| | Price List| | Ranges of expenses for certain delivery| | Contract Term †3 year| | Request Cycle Times †10 Working days| | Levels:5 †Execellant4-Good3-Average2 †Fair1 †Not Satisfactory| The Report After breaking down every one of these dangers and standards Id like to introduce a few focuses to exhibit why we ought to go for re-appropriating: * Closing stores activity the work cost (4 representatives) and space can give $200,000 investment funds every year. * The workers can be designated to another territory or resigned. I prescribe one of them to work supporting with the agreement the executives and for this activity the handicap specialist can be prepared to perform it. The costs identified with the stock can be decreased by 6%. * All the stores territories will open up for lease or intended for different tasks. Additionally the administration of those stores won’t be important, sparing time to concentrate on different issues. * Another solid favorable position of redistributing is the conveyance time that changes from three to about a month to under ten working days. This can likewise turn into a favorable position among the contenders. * The dispatch of new things can be time abbreviated since we don’t have all the stock and circulation errands any longer. Won't be important to design and make different stores to help our business as long it is developing. The agreement will deal with it. These focuses explain and legitimize the re-appropriating obtainment we ought to create and regulate. Cost and upper hands are the central matters demonstrating our organization to go for this venture. References: Flemng, Q. W. (2003). Venture acquirement the board: Contracting, subcontracting and joining. (First ed. , p. 273). America: Mayori, F. (2013). Acquirement slides †course study . Toronto, Canada: Centennial College, Progress Campus. www. centennialcollege. ca

Betwixt Non-Financial (sustainability) and Integrated Reporting

What Are The Main Contrasts To Be Found in Portugal? Â Â Â Â Â When responding to an inquiry, for example, this, one should fundamentally start by calling attention to that in addition to the fact that Portugal has a large number complexities inside its land, yet in addition that it stands out enormously from the other Mediterranean nations. Portugal isn't to be considered using any and all means as Spain's poor neighbor, nor should a shadow be thrown over it by such a considerable country. Portugal has a extraordinary arrangement to offer any guest, it isn't only a vacationer's heaven, yet this is unfortunately how it is seen by an enormous number of people. One should likewise not overlook Portugal's history of being, in ancient times, one of the more noteworthy oceanic countries, one of the further developed investigating nations of Europe. While Spain was busy with finding the Indias and thusly the Americas, Portugal was itself caught up with investigating Africa and making its own significant disclosures, in spite of the fact that these are generally neglected. Â Â Â Â Â Being arranged on the westernmost edge of Europe and the Iberian Promontory, Portugal appreciates a relative protection and freedom from the remainder of Mediterranean nations. Verging on Spain on different sides and the ocean on the others, the country as normally turned towards the ocean, from which it draws both its quality and riches and walked out on its most prominent adversary, Spain. Due to its consistent influxes of intrusion all through the ages, Portugal is a tremendously differing land, in geological terms as well as regarding legacy. It is valid to state that Portugal shares various similitudes with Spain, yet it is in no way, shape or form indistinguishable. Or maybe it is a country which mixes Moorish impacts, English custom and Mediterranean culture to frame a really one of a kind place that is known for people groups. Â Â Â Â Â When considering the decent variety of a nation, for example, Portugal, the notice of which quickly invokes a melange of pictures from North African to Western European, from blistering and moderate climate to snow topped mountains, one should truly start by depicting the two standard factors, those of atmosphere and topography, which themselves are interlaced. These thusly have an incredible impact on and to a limited degree achieve different contrasts which can be noted inside the thin limits of this country, for example, those of vegetation, economy what's more, scene. Â Â Â Â Â On looking at Portugal as far as differentiating districts or zones, one must clearly have a beginning stage and that is commonly viewed as a correlation among north and south, the River Tagus (Tejo) being the partitioning line. Be that as it may, Portugal can normally be partitioned into three incredible regular

Observing A Right Hip Fracture Repair - 963 Words

Operating Room Observation Experience This past week, I was able to observe a right hip fracture repair. The patient had broken his hip and was undergoing surgery to place screws and plates into his hip. I was able to see the whole process through the preoperative, intraoperative and postoperative stages. The preoperative stage is when the patient comes to the OR and is being prepped for the surgery. The patient is verified by the nurse, who needs to check patient identification, patient records and make sure is calm for the surgery. Before this particular surgery, the anesthesiologist came down before the surgery to administer a block to the patient. The block is to dull the nerve ending so when the patients comes out of surgery he will be in less pain. The consent form is signed by two people, the patient and the doctor performing the surgery. The consent form is the responsibility of the doctor, the nurse just verifies that both the doctor and the patient signed the form. It is ve ry common for a patient to be anxious right before a major surgery. My patient didn’t seem anxious but just wanted it to be over and done with. One of the most important part of a nurse’s job is to keep the patient calm and relaxed. That can be accomplished just by talking to them and reassuring them. Keeping the patient company will also ease their nerves. The nurse makes sure the patient is calm and relaxed right before surgery. It is also important for the holding area nurse to make sureShow MoreRelatedAnterior Cruciate Ligament Injury?2540 Words   |  11 Pagesstrengthening, balancing exercises, and getting enough rest between performances and/or practices (McDaniel et al. 2010). Reconstruction of the ACL is most likely necessary, especially if the patient is an athlete wanting to return to sports performance. Repair of the ACL once it has been torn is not possible—once the ligament is torn, the blood supply to the ligament diminishes, and the ligament becomes nonviable (McDaniel et al. 2010). Reconstruction requires a new graft, and graft selection depends onRead MoreHesi Practice31088 Words   |  125 Pagesrequirements increase greatly during labor. 3. A client with left-sided heart failure complains of increasing shortness of breath and is agitated and coughing up pink-tinged, foamy sputum. The nurse should recognize these as signs and symptoms of A. right-sided heart failure. B. acute pulmonary edema. C. pneumonia. D. cardiogenic shock. 4. What s the most appropriate nursing diagnosis for a client exhibiting obsessive-compulsive behavior? A. Ineffective coping. B. Imbalanced nutrition: Less than bodyRead MoreAutobilography of Zlatan Ibrahimov ic116934 Words   |  468 Pagesworked out for me. --------------------------------------------------------------------------- CHAPTER 1 Pep Guardiola, the coach in Barcelona, with his grey suits and troubled face, came up to me looking concerned. I thought he was all right at that time, certainly not a Mourinho or Capello, but an ok guy. This was way before we started our war. It was the fall of 2009 and I was living my childhood dream. I was playing in the best team in the world and had been welcomed by 70 000 peopleRead More_x000C_Introduction to Statistics and Data Analysis355457 Words   |  1422 PagesCompositor: Newgen–India Printer: Courier Corporation/Kendallville  © 2008, 2005 Duxbury, an imprint of Thomson Brooks/Cole, a part of The Thomson Corporation. Thomson, the Star logo, and Brooks/Cole are trademarks used herein under license. ALL RIGHTS RESERVED. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means—graphic, electronic, or mechanical, including photocopying, recording, taping, Web distribution, information storage and retrievalRead MoreLogical Reasoning189930 Words   |  760 Pagesbuild upon this work. An earlier version of the book was published by Wadsworth Publishing Company, Belmont, California USA in 1993 with ISBN number 0-534-17688-7. When Wadsworth decided no longer to print the book, they returned their publishing rights to the original author, Bradley Dowden. The current version has been significantly revised. If you would like to suggest changes to the text, the author would appreciate your writing to him at dowden@csus.edu. iv Praise Comments on the earlier

Ethics Social Mis - 1067 Words

2. Should producers of software-based services, such as ATMs, be held liable for economic injuries suffered when their systems fail? Provide specific examples of real-world situations that have happened, names of companies, etc. Is it the same for automobile defects/catastrophes? One example of fraud is when an unattended, self-serve bank ATM machine is compromised using a card skimmer to steal debit card account and PIN numbers. In this case, the bank should be held responsible for any economic losses suffered by its customers as it was negligent in not protecting physical access to its machine and allowing criminals to place the device on the ATM. Charlie Miller and Chris Valasek â€Å"hacked† a car’s computer controls â€Å"to send†¦show more content†¦However, since anyone can purchase this data and use it for for nefarious purposes, there are legitimate privacy concerns about this type of business. Frightening scenarios evolve as one can imagine using this services to collect names targeted for terrorism, racial profiling, harassment and other forms of discrimination. Another privacy nightmare is when one’s personal information is incorrectly reported by a data broker—how does one go about correcting this mistake and who pays? This is an industry that requires significant scrutiny and regulation. 4. What are key technology trends that raise ethical issues (you can also describe newer technologies for specific examples)? Think beyond the book. Two emerging trends that certainly raise ethical issues are gene-editing software and machine intelligence. Scientists can now modify basic biological building blocks to create new entities, be they based on embryonic stem-cells to combat disease or used to generate genetically modified organisms (GMOs) to enhance our food supply. Engineers can now design and built military robots with extraordinary lethality, strength and intelligence. 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The Shift from Traditional Societies to a Market Society

Material and ideological conditions are integral components of a market society, which interacted and changed the ways we view market society today. I will discuss the shift from traditional societies to a market society to explain what Polanyi refers to as â€Å"the great transformation†. I will then talk about the changes that have occurred in the workplace, the impact on these workers, and the worldview of those in a market society. According to Polanyi, a market economy becomes a market society when all land, labour and capital are commodified (Polanyi, 1957). A market society is a structure, which primarily focuses on the production and distribution of commodities and services. This takes place through a free market system, which allows†¦show more content†¦As Bendix explains, Weber believed that if a man’s hard work was seen as being naturally rewarding, that he would then work for his personal satisfaction (Bendix, 1962). This is referred to as the †Å"spirit of capitalism†, which is a contrasted term to â€Å"traditionalism†, where workers prefer less work to more pay, seek maximum comfort and minimum exertion during working hours, and are unable or unwilling to adapt themselves to new methods of work. Adherence to â€Å"traditionalism† is incompatible with the idea of â€Å"hard work as a virtue and hence a moral obligation†, or the â€Å"spirit of capitalism† (Bendix, 1962, p.52). Therefore, the â€Å"spirit of capitalism† is the idea and quality of living, which favours the rational pursuit of economic gain. A man’s hard work was to be seen as naturally rewarding and would therefore work for his own personal satisfaction. Polanyi’s describes Adam Smith’s idea of the â€Å"economic man†, as a notion of human nature in which we are meant to exchange (Polanyi, 1957). Since we are living in a market society, people must adopt a capitalistic mindset that seeks individual advantage that puts individual needs over social needs. This mindset supports the capitalist mode of production, as we concern ourselves with making money so we can buy things, which is essentially capitalisms goal. With this mindset, workers strive to work longer hours on clock time, to earn a wage in order to buy things for their own satisfaction. Bendix also discussesShow MoreRelatedAnalysis Of Karl Polanyi s Societies And Economic Systems 1389 Words   |  6 Pages Transformation of The Workplace In Karl Polanyi’s article â€Å"Societies and Economic Systems†, Karl Rinehart’s ‘Alienation and the Development of Industrial Capitalism in Canada’, and Richard Bendix’s â€Å"Aspects of Economic Rationality in the West†, the emergence and transformation to a market society is displayed through ideological and material conditions. 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Being driven by capitalism, society has developed everything into a commodity, in which we now call a market society. Other socio-economic communities historically had concepts that were different from what is predominated in our present society. The emergence of market society establishes the great transformation from a traditional society to a market economy thatRead MoreTraditional Aboriginal Art As A Communication Tool Throughout Australian Aboriginal History993 Words   |  4 PagesTraditional Aboriginal Art Art has been used as a communication tool throughout Australian aboriginal history. They were utilized to convey knowledge of ancestral pasts and tapping into the spiritual power of their beliefs. In a traditionally oriented Aboriginal society, art was also very valuable. It was placed under such high regards that producing them are being controlled and access to them are restricted to only people of certain status . The body of the artwork are also predetermined. 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Bill Sikes Essay Example For Students

Bill Sikes Essay SHE IS UNTIDY AND FREE IN MANNER, BUT THERE WAS SOMETHING OF THE WOMANS ORIGINAL NATURE LEFT IN HER STILL. In Oliver Twist, the characters portrayed present destructive forces. These characters represent self-interest. The characters are always looking out to advance themselves in matters either financial or otherwise. They posse qualities are that people hide from the general public. These qualities, the want to control, greed, envy, idleness and jealousy, to name a few, are hidden from those they interact with, but there are some that they associate with that they reveal their mind to. HE IS SO JOLLY GREEN! THIS REMARK BY CHARLEY BATES, SHOWING OLIVERS PURITY, FURTHER SHOWS US THAT FAGIN IS WILLING TO CORRUPT AN INNOCENT SOUL FOR THE SAKE OF HIS GREED, AS WE FIND OUT LATER ON THAT HE WAS COMMISSIONED BY MONKS TO CORRUPT THE BOY FOR MONEY. HE TRIES TO MAKE OLIVER AS ONE OF HIS BOYS BUT IN THE END HE DOES NOT SUCCEED. FAGIN SEEKS TO CORRUPT EVEN THE INNOCENT, WHICH MAKES HIM DOUBLY DIABOLICAL, ALMOST EVIL. It seems that although these destructive characters draw to them others, they do not give their trust over to these characters. Always there is some ulterior motive in their actions. As in Fagins assent to let Sikes use Oliver in his schemes has proved, self-interest is always the underlying motive. When Fagin lets Sikes get the boy for his purposes, we find out that he only does so to get Oliver in trouble with the law so that Monks directives to Fagin will get fulfilled and Fagin collects a lot of money, and so does Monks, who it turns out is Olivers half-brother who gets all the inheritance if Oliver is disgraced in the eyes of the law. I mean to be a gentleman, said Mr. Claypole, kicking out his legs He means to be a swindler, as his speech dictates to us, and as he needs someone to show him how its done, Fagin was more than happy to oblige him. I have got a friend that I think can gratify your darling wish, and put you in right away, where you can take whatever department of business you think will suit you best at first, and be taught all the others Fagin and Sikes have this underlying quality of greed and self- interest which draws them together. Even Noah Claypole, while not corrupted yet, is drawn in to Fagins group because of his predisposition towards Fagins type of living. Fagin offers him a place in his gang, which Noah, dishonest critter that he is and predisposed to thieving, most happily accepts. But it is not only the bad characters that draw each other to them-selves, even the good folks draw one another. As we have seen, those characters that represent the destructive forces of self-interest bring down those that are around them. Even their associates are not proof against their destructiveness. As with what happened to Bill Sikes have proven, those that associate with destructive characters get destroyed. Bill Sikes kills Nancy, the only one that loved Bill truly and even gives up salvation on his behalf. At Fagins scheming urgings, Bill Sikes causes the destruction of all that was around him, and even Bills dog was not immune to such a fate. The eyes again, he cried, in an unearthly screech His conscience makes him see Nancys eyes as he killed her which causes him to fall. Staggering as if struck by lightning, he lost his balance and tumbled over the parapet. Nancy goes to meet Mr. Claypole, this is a dramatic irony, dramatic irony is something that the audience know but the characters dont. .u2a3d1bdee3c505cd9039e24b35efc556 , .u2a3d1bdee3c505cd9039e24b35efc556 .postImageUrl , .u2a3d1bdee3c505cd9039e24b35efc556 .centered-text-area { min-height: 80px; position: relative; } .u2a3d1bdee3c505cd9039e24b35efc556 , .u2a3d1bdee3c505cd9039e24b35efc556:hover , .u2a3d1bdee3c505cd9039e24b35efc556:visited , .u2a3d1bdee3c505cd9039e24b35efc556:active { border:0!important; } .u2a3d1bdee3c505cd9039e24b35efc556 .clearfix:after { content: ""; display: table; clear: both; } .u2a3d1bdee3c505cd9039e24b35efc556 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u2a3d1bdee3c505cd9039e24b35efc556:active , .u2a3d1bdee3c505cd9039e24b35efc556:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u2a3d1bdee3c505cd9039e24b35efc556 .centered-text-area { width: 100%; position: relative ; } .u2a3d1bdee3c505cd9039e24b35efc556 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u2a3d1bdee3c505cd9039e24b35efc556 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u2a3d1bdee3c505cd9039e24b35efc556 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u2a3d1bdee3c505cd9039e24b35efc556:hover .ctaButton { background-color: #34495E!important; } .u2a3d1bdee3c505cd9039e24b35efc556 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u2a3d1bdee3c505cd9039e24b35efc556 .u2a3d1bdee3c505cd9039e24b35efc556-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u2a3d1bdee3c505cd9039e24b35efc556:after { content: ""; display: block; clear: both; } READ: How does Browning in "Porphyria's lover" and "Laboratory" convey the workings of a diseased mind EssayNancy and the audience know that she is going to meet Mr. Claypole and of course so does 1 character, who is, Noah, even though Fagin doesnt trust her but still hasnt a clue what she is going to do. In Oliver Twist, it is Fagin who destroys Nancys chance of redeeming herself by poisoning Sikes mind with thoughts of her betrayal. He fills Sikes mind with insinuations that Sikes gets inflamed with anger which causes him to kill Nancy in the end, not even paying heed to her pleas that he join her in the chance of being better people, breaking away from Fagins dominion. Fagin had Noah Claypole recount the details of the meeting on the bridge but the whole story is edited to put Nancy in the worst light. A gentleman and a lady that she has gone to of her own accord before, who asked herto give up her not? Pals, and Monks first She told it all every word without a threat, without a murmur- she did-did she not? Sykes has no respect for Fagin and you can tell this by the way he speaks to him. You can see Fagin is afraid of him but Fagin does like to have the last word. If Sykes does not get his own way he will turn to violence as we see with the arguments over Oliver, Looking sternly at him, and ostentatiously passing a pistol into a more convenient pocket. Thats lucky for one of us. This shows again Sykes is unpredictable and a bully and brings more tension. When Bill Sykes sees Fagin, Fagin changes the tone of his voice at once. ITi S PROBABLE THE REASON OLIVER TWIST CONTAINS SO MUCH FEAR AND AGONY IS BECAUSE ITi S A REFLECTION OF INCIDENCE IN CHARLES DICKENS PAST. DURING HIS CHILDHOOD, CHARLES DICKENS SUFFERED MUCH ABUSE FROM HIS PARENTS. THIS ABUSE IS OFTEN EXPRESSED IN HIS NOVEL.

5 Presidential Words and Phrases for Presidents’ Day

5 Presidential Words and Phrases for Presidents’ Day 5 Presidential Words and Phrases for Presidents’ Day Some presidents have their faces carved into mountains. Others appear on our money. But some presidents have also left a mark on the English language. So to mark Presidents’ Day this year, we’re taking a look at some interesting words and phrases popularized by US presidents. 1. Washington’s Administration George Washington: Anything but average. George Washington was the first President of the United States. It is thus appropriate that he was also the first person to use â€Å"administration† to refer to a president’s time in office. Washington is, in fact, cited as the first person to use of a number of words, including common terms such as â€Å"indoors† and â€Å"average.† However, this is partly because Washington’s diaries have been preserved while other documents from the time have been lost. As such, â€Å"indoors† and â€Å"average† were probably in common use even before Washington wrote them down. 2. Harding’s Founding Fathers The term â€Å"Founding Fathers† is now commonly used to refer to the men involved in founding the United States, including those who drafted and signed the Declaration of Independence. But this phrase only caught on when Warren G. Harding used it in a speech in 1918. To be exact, in a speech to The Sons and Daughters of the Revolution in Washington, DC, Harding said: â€Å"It is good to meet and drink at the fountains of wisdom inherited from the founding fathers of the Republic.† - Address on Washington’s Birthday (1918). Harding also used the phrase in a speech when he was officially notified of his nomination for the presidency. And since then it has become a common part of our language. 3. FDR’s â€Å"Iffy† Language The ever iffy FDR. Even today, â€Å"iffy† is not an especially statesmanlike word. So it must have sounded very strange when Franklin D. Roosevelt invented it in the 1930s. In particular, he enjoyed using it at press briefings, where he would dismiss hypothetical queries he did not like as â€Å"iffy† questions (i.e., questions that depend on an â€Å"if† scenario rather than current facts). 4. Lincoln Sugarcoats a Message to Congress Abraham Lincoln was not the first person to use the term â€Å"sugarcoat† to mean â€Å"make something superficially attractive.† It was, in fact, a common colloquialism before he got to it. But this term may have been too common for John Defrees, the man in charge of public printing at the time, who described its use in a message to congress as â€Å"undignified.† Abe was not put off, though, replying to Defrees that the controversial word â€Å"expresses precisely my idea, and I am not going to change it. The time will never come in this country when the people won’t know exactly what sugar-coated means!† And so far, at least, Lincoln was right. 5. George Bush Jr’s Linguistic Creativity Finally, we end with a president not widely celebrated for his linguistic achievements: George W. Bush. But Bush Jr’s habit of misspeaking gave rise to entirely new words, such as â€Å"misunderestimate,† meaning to underestimate by mistake. And who are we to say that he is wrong? It may only be a matter of time before â€Å"misunderstimate† enters the dictionary. That said, we’re still confused by what he meant when he said â€Å"I know the human being and fish can coexist peacefully.† So perhaps we shouldn’t get carried away with our Bushisms quite yet†¦ Dont misunderestimate him

Capitalism and Industrial Revolution Essay

Capitalism and Industrial Revolution Essay Capitalism and Industrial Revolution Essay THE STRUCTURE AND CULTURE OF THE AMERICAN WORKPLACE SINCE INDUSTRIAL REVOLUTION Sara Link Thomas Edison The structure and culture of the American workplace since Industrial revolution Introduction Before the industrial revolution, people were agricultural based in farms that were spread out in America. The mode of production was traditional and the output was dismal. Since the start of the Industrial revolution to date, the structural and cultural workplace in America has been impacted by may forces including rise of capitalism, use of technology, emergence of globalization and gender equality issues. Industrial revolution brought together people from different ways of life through the creation of machines, cities and factories. Time became of importance as work days were no longer determined by the sun. This was because the clock was used at the work place. Entertainment industry grew tremendously as people were seeking something to do when off clock. Congestion developed in the cities because there were no regulations and every family member had to work. Unlike in the agricultural age where families worked together, industrial revolution made it difficult for family members to work together. As a result, family life became very difficult. This paper discusses how the structure and culture of the workplace of American workplace have been affected by the forces of succeeding industrial revolution including capitalism, technology, globalization and issues of equality. Capitalism The term capitalism was coined in 19th Century when industrial revolution was at its peak and individual businessmen were come up with new enterprises and as they accumulated wealth. Capitalism is an economic system in which trade, business, means of production and distribution are controlled by the private owners or corporations, compared to the state-owned means of production. Capitalism has been in existence in the western world since the age of Mercantilism. Mercantilism was an economic system that was supposed to increase the country’s The structure and culture of the American workplace since Industrial revolution 3 wealth through imposing government regulations on commercial interests related to the country’s economy. It was believed that limiting the imports on tariffs and maximizing exports, the nation’s economy would be improved. Compared to the other economic systems, capitalism emphasizes on production at the expense of consumption to increase the productive capacity instead of investing it on economic enterprises that are unproductive for example, palaces and cathedral. It is recognized as the new emerging global economy. Capitalism is illustrated by the flow of goods, services, capital and labor through comparative advantage by use of new technologies that disrupt the traditional ways of conducting business. United States have built a niche for itself in the global economy using modern technology to create high quality goods and services that are value added as well as to have the most informa tion based economy. Remaining at the top is not easy and therefore industries in the United States have to adopt the principal of constant change through the process of â€Å"creative destruction.† This entails replacing ineffective products and the entire industry on a continuous basis. Today, capitalism exists in all countries of the world as a social system where production and distribution means are owned by a minority of people known as the capitalist class. Most people have to exchange their skills to work in return for a salary. This class of people is paid for producing of goods and services which are sold for profit. The capitalists make their livelihood from the profits the working class makes for them. Technology Technology is the study, development, modification, and usage of devices, machines, crafts, systems and techniques so as to find solutions to problems while improving a preexisting problem solution to achieve a

Rhetorical Analysis Assignment Example | Topics and Well Written Essays - 1500 words

Rhetorical Analysis - Assignment Example This paper is focused on the identification of rhetoric strategies in an academic and professional paper written by Saurav K. Dutta and Raef A. Lawson in the domain of managerial accounting. The title of paper is â€Å"Boosting Management Accounting’s Stature on Campus† and it has been published in year 2007. ANALYSIS OF RHETORICAL STRATEGIES Style and Tone The style adopted by authors of this paper is comprised of long and fluent sentences along with descriptive and appropriate usage of words. The appropriation of words used by the authors is strictly in concordance with the field which this paper has associations that is business. Structure of sentences is simple and effective which demonstrate the informative intention of authors. However, the paper is aimed to persuade the academic institutions, authors have adopted the straight writing technique in which simple structured sentences are presented to inform the audience about the criticality of the issue. As this art icle is professional as well as academic, the tone utilized by authors is highly descriptive. However, authors also have acquired a sarcastic tone to signify the criticality and to represent historic happenings in the domain of management accounting. ... Followed by the construction of the argument in which authors have demonstrated the flaw of contemporary academics on the basis of which the problems are developed as associative with the field of management accounting. By developing the whole explanation for the problem, authors have proposed a way out which is the basic purpose of the author to be developed. In this domain, the whole paper represents a systematic deliverance of the argument with a demonstration of excellence by the authors in the related field of study. Due to this, authors have successfully developed the stature of authors as credible and authentic which assists to imply the intended argument in a more sufficient manner (Dutta and Lawson 43-45). Pathos The presence of pathos in the article is distinctively highlighted with the explication of issue and its association with individuals who are professionally accountants in a negative manner. Authors have identified a significantly critical issue regarding the field of accountancy on the basis of which authors developed that this critical issue is decreasing the need of accountants. There are two prominent features in the paper which depicts the persistence of pathos acquired by authors in order to persuade the targeted audience on emotional plain. Firstly, authors have portrayed a factor of concern for the field of management, business and accounting that is the declining need and efficiency of accountancy in contemporary times. It creates an immensely persuading impact on the academies of business and field of accounting because of the importance which is intrinsically related to this discipline of studies. On the other hand, it illuminates problems for individuals who are acquiring the academic

Does China threaten U.S. global economic dominance Research Paper

Does China threaten U.S. global economic dominance - Research Paper Example Some reports even said that China, as one of the E7 – emerging economies are projected to go beyond the G7 countries around 2032iii. But a lot of things could happen before 2030. Take the example of Japan who almost unseat the U.S. in 1980s, but speculations on this did not materialize due to excessive trade surplus similar to what China is in right now. What stands on the way of China for becoming number one, and being the world’s economic power? Let us take a look at the important demographics. Although China’s population today is 1,336,718,015, four times larger than the United States, its prime working age population of 20 to 35 years old continue to shrink because of its one child policy iv. Also, the vast majority of the population living in the rural areas is either very old or very young. Due to the large number of population, the huge cost of growth is expected to go up as demands for everything continues to go up. While it seems that China ranks close t o U.S. in terms of GDP, it cannot be said that it is a dominant power. It also shows that China is not necessarily richer, only bigger. In 2009, China has $9.872 trillion GDP while US has $14.72 trillion. In comparison, China has a GDP per capita of $7,400 and ranks 127th in the world, and it is dwarfed by the U.S. GDP per capita of $47,400, and is ranked as 10th in the world v. ... nges that should preoccupy the government aside from staking a claim of economic global dominance, such as: (a) reducing its high domestic savings rate and correspondingly low domestic demand; (b) sustaining adequate job growth for tens of millions of migrants and new entrants to the work force; (c) reducing corruption and other economic crimes; and (d) containing environmental damage and social strife related to the economy's rapid transformation† vii. It has been noted that development rests in the coastal provinces rather than in the interior; so much so that addressing the needs of 200 million rural laborers and dependents that have relocated to urban areas to find work is one of its problems Economic analysts view the China’s economic global dominance differently. Hugh Hendry,viii an economic adviser, argues that investors should not worry too much on the fallacy of China’s economic dominance. He said this will not happen because China, despite being the worl d’s largest creditor is also running a consistent trade surplus... It is recalled that this is the same scenario that devastated US in 1920s and Japan in 1980s so that investors are warned of the occurrence of same incident to China. There is no doubt that China’s exports have remained strong amid the difficulties of the global economy. In 2010, China’s exports grew to $1.506 trillion, as compared to its 2009 exports of $1.204 trillion and have further widened the trade surplus with U.S. by 46% to $28.7 billion. ix However, demand for Chinese goods is projected to decline because of the slow growth of U.S. economy and debt problems in parts of Europe. 20% of China’s products are exported to U.S., and the rest goes to Hong Kong, Japan, South Korea and Germany. China has not completely erased the

Art After Philosophy (1969) Joseph Kosuth Essay Example for Free

Art After Philosophy (1969) Joseph Kosuth Essay The fact that it has recently become fashionable for physicists themselves to be sympathetic toward religion . . . marks the physicists’ own lack of confidence in the validity of their hypotheses, which is a reaction on their part from the antireligious dogmatism of nineteenth-century scientists, and a natural outcome of the crisis through which physics has just passed. –A. J. Ayer. . . . once one has understood the Tractatus there will be no temptation to concern oneself anymore with philosophy, which is neither empirical like science nor tautological like mathematics; one will, like Wittgenstein in 1918, abandon philosophy, which, as traditionally understood, is rooted in confusion. –J. O. Urmson. Traditional philosophy, almost by definition, has concerned itself with the unsaid. The nearly exclusive focus on the said by twentieth-century analytical linguistic philosophers is the shared contention that the unsaid is unsaid because it is unsayable. Hegelian philosophy made sense in the nineteenth century and must have been soothing to a century that was barely getting over Hume, the Enlightenment, and Kant.1 Hegel’s philosophy was also capable of giving cover for a defense of religious beliefs, supplying an alternative to Newtonian mechanics, and fitting in with the growth of history as a discipline, as well as accepting Darwinian biology.2 He appeared to give an acceptable resolution to the conflict between theology and science, as well. The result of Hegel’s influence has been that a great majority of contemporary philosophers are really little more than historians of philosophy, Librarians of the Truth, so to speak. One begins to get the impression that there â€Å"is nothing more to be said.† And certainly if one realizes the implications of Wittgenstein’s thinking, and the thinking influenced by him and after him, â€Å"Continental† philosophy need not seriously be considered here.3 Is there a reason for the â€Å"unreality† of philosophy in our time? Perhaps this can be answered by looking into the difference between our time and the centuries preceding us. In the past man’s conclusions about the world were based on the information he had about it – if not specifically like the empiricists, then generally like the rationalists. Often in fact, the closeness between science and philosophy was so great that scientists and philosophers were one and the same person. In fact, from the times of Thales, Epicurus, Heraclitus, and Aristotle to Descartes and Leibnitz, â€Å"the great names in philosophy were often great names in science as well.†4 That the world as perceived by twentieth-century science is a vastly different one than the one of its preceding century, need not be proved here. Is it possible, then, that in effect man has learned so much, and his â€Å"intelligence† is such, that he cannot believe the reasoning of traditional philosophy? That perhaps he knows too much about the world to make those kinds of conclusions? As Sir James Jeans has stated: . . . When philosophy has availed itself of the results of science, it has not been by borrowing the abstract mathematical description of the pattern of events, but by borrowing the then current pictorial description of this pattern; thus it has not appropriated certain knowledge but conjectures. These conjectures were often good enough for the man-sized world, but not, as we now know, for those ultimate processes of nature which control the happenings of the man-sized world, and bring us nearest to the true nature of reality.5 He continues: One consequence of this is that the standard philosophical discussions of many problems, such as those of causality and free will orof materialism or mentalism, are based on an interpretation of the pattern of events which is no longer tenable. The scientific basis of these older discussions has been washed away, and with their disappearance have gone all the arguments . . .6 The twentieth century brought in a time that could be called â€Å"the end of philosophy and the beginning of art.† I do not mean that, of course, strictly speaking, but rather as the â€Å"tendency† of the situation. Certainly linguistic philosophy can be considered the heir to empiricism, but it’s a philosophy in one gear.7 And there is certainly an â€Å"art condition† to art preceding Duchamp, but its other functions or reasons-to-be are so pronounced that its ability to function clearly as art limits its art condition so drastically that it’s only minimally art.8 In no mechanistic sense is there a connection between philosophy’s â€Å"ending† and art’s â€Å"beginning,† but I don’t find this occurrence entirely coincidental. Though the same reasons may be responsible for both occurrences, the connection is made by me. I bring this all up to analyze art’s function and subsequently its viability. And I do so to enable others to understand the reasoning of my – and, by extension, other artists’ – art, as well to provide a clearer understanding of the term â€Å"Conceptual art.†9 THE FUNCTION OF ART The main qualifications to the lesser position of painting is that advances in art are certainly not always formal ones. –Donald Judd (1963). Half or more of the best new work in the last few years has been neither painting nor sculpture. – Donald Judd (1965). Everything sculpture has, my work doesn’t. –Donald Judd (1967). The idea becomes a machine that makes the art. –Sol LeWitt (1965) The one thing to say about art is that it is one thing. Art is art-as-art and everything else is everything else. Art as art is nothing but art. Art is not what is not art. –Ad Reinhardt (1963). The meaning is the use. –Wittgenstein. A more functional approach to the study of concepts has tended to replace the method of introspection. Instead of attempting to grasp or describe concepts bare, so to speak, the psychologist investigates the way in which they function as ingredients in beliefs and in judgments. –Irving M. Copi. Meaning is always a presupposition of function. –T. Segerstedt. . . . the subject matter of conceptual investigations is the meaning of certain words and expressions – and not the things and states of affairs themselves about which we talk, when using those words and expressions. –G. H. Von Wright. Thinking is radically metaphoric. Linkage by analogy is its constituent law or principle, its causal nexus, since meaning only arises through the causal contexts by which a sign stands for (takes the place of) an instance of a sort. To think of anything is to take it as of a sort (as a such and such) and that â€Å"as† brings in (openly or in disguise) the analogy, the parallel, the metaphoric grapple or ground or grasp or draw by which alone the mind takes hold. It takes no hold if there is nothing for it to haul from, for its thinking is the haul, the attraction of likes –I. A. Richards. In this section I will discuss the separation between aesthetics and art; consider briefly formalist art (because it is a leading proponent of the idea of aesthetics as art), and assert that art is analogous to an analytic proposition, and that it is art’s existence as a tautology that enables art to remain â€Å"aloof† from philosophical presumptions. It is necessary to separate aesthetics from art because aesthetics deals with opinions on perception of the world in general. In the past one of the two prongs of art’s function was its value as decoration. So any branch of philosophy that dealt with â€Å"beauty† and thus, taste, was inevitably duty bound to discuss art as well. Out of this â€Å"habit† grew the notion that there was a conceptual connection between art and aesthetics, which is not true. This idea never drastically conflicted with artistic considerations before recent times, not only because the morphological characteristics of art perpetuated the continuity of this error, but as well, because the apparent other â€Å"functions† of art (depiction of religious themes, portraiture of aristocrats, detailing of architecture, etc.) used art to cover up art. When objects are presented within the context of art (and until recently objects always have been used) they are as eligible for aesthetic consideration as are any objects in the world, and an aesthetic consideration of an object existing in the realm of art means that the object’s existence or functioning in an art context is irrelevant to the aesthetic judgment. The relation of aesthetics to art is not unlike that of aesthetics to architecture, in that architecture has a very specific function and how â€Å"good† its design is is primarily related to how well it performs its function. Thus, judgments on what it looks like correspond to taste, and we can see that throughout history different examples of architecture are praised at different times depending on the aesthetics of particular epochs. Aesthetic thinking has even gone so far as to make examples of architecture not related to â€Å"art† at all, works of art in themselves (e.g., the pyramids of Egypt). Aesthetic considerations are indeed always extraneous to an object’s function or â€Å"reason-tobe.† Unless of course, that object’s reason-to-be is strictly aesthetic. An example of a purely aesthetic object is a decorative object, for decoration’s primary function is â€Å"to add something to, so as to make more attractive; adorn; ornament,†10 and this relates directly to taste. And this leads us directly to â€Å"formalist† art and criticism.11 Formalist art (painting and sculpture) is the vanguard of decoration, and, strictly speaking, one could reasonably assert that its art condition is so minimal that for all functional purposes it is not art at all, but pure exercises in aesthetics. Above all things Clement Greenberg is the critic of taste. Behind every one of his decisions is an aesthetic judgment, with those judgments reflecting his taste. And what does his taste reflect? The period he grew up in as a critic, the period â€Å"real† for him: the fifties.12 How else can one account for, given his theories – if they have any logic to them at all – his disinterest in Frank Stella, Ad Reinhardt, and others applicable to his historical scheme? Is it because he is â€Å". . . basically unsympathetic on personally experiential grounds†?13 Or, in other words, â€Å"their work doesn’t suit his taste?† But in the philosophic tabula rasa of art, â€Å"if someone calls it art,† as Don Judd has said, â€Å"it’s art.† Given this, formalist painting and sculpture can be granted an â€Å"art condition,† but only by virtue of their presentation in terms of their art idea (e.g., a rectangular-shaped canvas stretched over wooden supports and stained with such and such colors, using such and such forms, giving such and such a visual experience, etc.). If one looks at contemporary art in this light one realizes the minimal creative effort taken on the part of formalist artists specifically, an d all painters and sculptors (working as such today) generally. This brings us to the realization that formalist art and criticism accepts as a definition of art one that exists solely on morphological grounds. While a vast quantity of similar looking objects or images (or visually related objects or images) may seem to be related (or connected) because of a similarity of visual/experiential â€Å"readings,† one cannot claim from this an artistic or conceptual relationship. It is obvious then that formalist criticism’s reliance on morphology leads necessarily with a bias toward the morphology of traditional art. And in this sense their criticism is not related to a â€Å"scientific method† or any sort of empiricism (as Michael Fried, with his detailed descriptions of paintings and other â€Å"scholarly† paraphernalia would want us to believe). Formalist criticism is no more than an analysis of the physical attributes of particular objects that happen to exist in a morphological context. But this doesn’t add any knowledge (or facts) to our understanding of the nature or function of art. And neither does it comment on whether or not the objects analyzed are even works of art, in that formalist critics always bypass the conceptual element in works of art. Exactly why they don’t comment on the conceptual element in works of art is precisely because formalist art is only art by virtue of its resemblance to earlier works of art. It’s a mindless art. Or, as Lucy Lippard so succinctly described Jules Olitski’s paintings: â€Å"they’re visual Muzak.† 14 Formalist critics and artists alike do not question the nature of art, but as I have said elsewhere: Being an artist now means to question the nature of art. If one is questioning the nature of painting, one cannot be questioning the nature of art. If an artist accepts painting (or sculpture) he is accepting the tradition that goes with it. That’s because the word art is general and the word painting is specific. Painting is a kind of art. If you make paintings you are already accepting (not questioning) the nature of art. One is then accepting the nature of art to be the European tradition of a painting-sculpture dichotomy.15 The strongest objection one can raise against a morphological justification for traditional art is that morphological notions of art embody an implied a priori concept of art’s possibilities. And such an a priori concept of the nature of art (as separate from analytically framed art propositions or â€Å"work,† which I will discuss later) makes it, indeed, a priori: impossible to question the nature of art. And this questioning of the nature of art is a very important concept in understanding the function of art. The function of art, as a question, was first raised by Marcel Duchamp. In fact it is Marcel Duchamp whom we can credit with giving art its own identity. (One can certainly see a tendency toward this self-identification of art beginning with Manet and Cà ©zanne through to Cubism,16 but their works are timid and ambiguous by comparison with Duchamp’s.) â€Å"Modern† art and the work before seemed connected by virtue of their morphology. Another way of putting it would be that art’s â€Å"language† remained the same, but it was saying new things. The event that made conceivable the realization that it was possible to â€Å"speak another language† and still make sense in art was Marcel Duchamp’s first unassisted Ready-made. With the unassisted Ready-made, art changed its focus from the form of the language to what was being said. Which means that it changed the nature of art from a question of morphology to a question of function. This change – one from â€Å"appearance† to â€Å"conception† – was the beginning of â€Å"modern† art and the beginning of conceptual art. All art (after Duchamp) is conceptual (in nature) because art only exists conceptually. The â€Å"value† of particular artists after Duchamp can be weighed according to how much they questioned the nature of art; which is another way of saying â€Å"what they added to the conception of art† or what wasn’t there before they started. Artists question the nature of art by presenting new propositions as to art’s nature. And to do this one cannot concern oneself with the handed-down â€Å"language† of traditional art, as this activity is based on the assumption that there is only one way of framing art propositions. But the very stuff of art is indeed greatly related to â€Å"creating† new propositions. The case is often made – particularly in reference to Duchamp – that objects of art (such as the Ready-mades, of course, but all art is implied in this) are judged as objets d’art in later years and the artists’ intentions become irrelevant. Such an argument is the case of a preconceived notion ordering together not necessarily related facts. The point is this: aesthetics, as we have pointed out, are conceptually irrelevant to art. Thus, any physical thing can become objet d’art, that is to say, can be considered tasteful, aesthetically pleasing, etc. But this has no bearing on the object’s application to an art context; that is, its functioning in an art context. (E.g., if a collector takes a painting, attaches legs, and uses it as a dining table it’s an act unrelated to art or the artist because, as art, that wasn’t the artist’s intention.) And what holds true for Duchamp’s work applies as well to most of the art after him. In other words, the value of Cubism – for instance – is its idea in the realm of art, not the physical or visual qualities seen in a specific painting, or the particularization of certain colors or shapes. For these colors and shapes are the art’s â€Å"language,† not its meaning conceptually as art. To look upon a Cubist â€Å"masterwork† now as art is nonsensical, conceptually speaking, as far as art is concerned. (That visual information that was unique in Cubism’s language has now been generally absorbed and has a lot to do with the way in which one deals with painting â€Å"linguistically.† [E.g., what a Cubist painting meant experimentally and conceptually to, say, Gertrude Stein, is beyond our speculation because the same painting then â€Å"meant† something different than it does now.]) The â€Å"value† now of an original Cubist painting is not unlike, in most respects, an original manuscript by Lord Byron, or The Spirit of St. Louis as it is seen in the Smithsonian Institution. (Indeed, museums fill the very same function as the Smithsonian Institution – why else would the Jeu de Paume wing of the Louvre exhibit Cà ©zanne’s and Van Gogh’s palettes as proudly as they do their paintings?) Actual works of art are little more than historical curiosities. As far as art is concerned Van Gogh’s paintings aren’t worth any more than his palette is. They are both â€Å"collectors items.†17 Art â€Å"lives† through influencing other art, not by existing as the physical residue of an artist’s ideas. The reason that different artists from the past are â€Å"brought alive† again is because some aspect of their work becomes â€Å"usable† by living artists. That there is no â€Å"truth† as to what art is seems quite unrealized. What is the function of art, or the nature of art? If we continue our analogy of the forms art takes as being art’s language one can realize then that a work of art is a kind of proposition presented within the context of art as a comment on art. We can then go further and analyze the types of â€Å"propo sitions.† A. J. Ayer’s evaluation of Kant’s distinction between analytic and synthetic is useful to us here: â€Å"A proposition is analytic when its validity depends solely on the definitions of the symbols it contains, and synthetic when its validity is determined by the facts of experience.†18 The analogy I will attempt to make is one between the art condition and the condition of the analytic proposition. In that they don’t appear to be believable as anything else, or be about anything (other than art) the forms of art most clearly finally referable only to art have been forms closest to analytical propositions. Works of art are analytic propositions. That is, if viewed within their context – as art – they provide no information whatsoever about any matter of fact. A work of art is a tautology in that it is a presentation of the artist’s intention, that is, he is saying that that particular work of art is art, which means, is a definition of art. Thus, that it is art is true a priori (which is what Judd means when he states that â€Å"if someone calls it art, it’s art†). Indeed, it is nearly impossible to discuss art in general terms without talking in tautologies – for to attempt to â€Å"grasp† art by any other â€Å"handle† is merely to focus on another aspect or quality of the proposition, which is usually irrelevant to the artwork’s â€Å"art condition.† One begins to realize that art’s â€Å"art condition† is a conceptual state. That the language forms that the artist frames his propositions in are often â€Å"private† codes or languages is an inevitable outcome of art’s freedom from morphological constrictions; and it follows from this that one has to be familiar with contemporary art to appreciate it and understand it. Likewise one understands why the â€Å"man in the street† is intolerant to artistic art and always demands art in a tr aditional â€Å"language.† (And one understands why formalist art sells â€Å"like hot cakes.†) Only in painting and sculpture did the artists all speak the same language. What is called â€Å"Novelty Art† by the formalists is often the attempt to find new languages, although a new language doesn’t necessarily mean the framing of new propositions: e.g., most kinetic and electronic art. Another way of stating, in relation to art, what Ayer asserted about the analytic method in the context of language would be the following: The validity of artistic propositions is not dependent on any empirical, much less any aesthetic, presupposition about the nature of things. For the artist, as an analyst, is not directly concerned with the physical properties of things. He is concerned only with the way (1) in which art is capable of conceptual growth and (2) how his propositions are capable of logically following that growth.19 In other words, the propositions of art are not factual, but linguistic in character – that is, they do not describe the behavior of physical, o r even mental objects; they express definitions of art, or the formal consequences of definitions of art. Accordingly, we can say that art operates on a logic. For we shall see that the characteristic mark of a purely logical inquiry is that it is concerned with the formal consequences of our definitions (of art) and not with questions of empirical fact.20 To repeat, what art has in common with logic and mathematics is that it is a tautology; i.e., the â€Å"art idea† (or â€Å"work†) and art are the same and can be appreciated as art without going outside the context of art for verification. On the other hand, let us consider why art cannot be (or has difficulty when it attempts to be) a synthetic proposition. Or, that is to say, when the truth or falsity of its assertion is verifiable on empirical grounds. Ayer states: . . . The criterion by which we determine the validity of an a priori or analytical proposition is not sufficient to determine the validity of an empirical or synthetic proposition. For it is characteristic of empirical propositions that their validity is not purely formal. To say that a geometrical proposition, or a system of geometrical propositions, is false, is to say that it is self-contradictory. But an empirical proposition, or a system of empirical propositions, may be free from contradiction and still be false. It is said to be false, not because it is formally defective, but because it fails to satisfy some material criterion.21 The unreality of â€Å"realistic† art is due to its framing as an art proposition in synthetic terms: one is always tempted to â€Å"verify† the proposition empirically. Realism’s synthetic state does not bring one to a circular swing back into a dialogue with the larger framework of questions about the nature of art (as does the work of Malevich, Mondrian, Pollock, Reinhardt, early Rauschenberg, Johns, Lichtenstein, Warhol, Andre, Judd, Flavin, LeWitt, Morris, and others), but rather, one is flung out of art’s â€Å"orbit† into the â€Å"infinite space† of the human condition. Pure Expressionism, continuing with Ayer’s terms, could be considered as such: â€Å"A sentence which consisted of demonstrative symbols would not express a genuine proposition. It would be a mere ejaculation, in no way characterizing that to which it was supposed to refer.† Expressionist works are usually such â€Å"ejaculations† presented in the morphological language of traditional art. If Pollock is important it is because he painted on loose canvas horizontally to the floor. What isn’t important is that he later put those drippings over stretchers and hung them parallel to the wall. (In other words what is important in art is what one brings to it, not one’s adoption of what was previously existing.) What is even less important to art is Pollock’s notions of â€Å"self-expression† because those kinds of subjective meanings are useless to anyone other than those involved with him personally. And their â€Å"specific† quality puts them outside of art’s context. â€Å"I do not make art,† Richard Serra says, â€Å"I am engaged in an activity; if someone wants to call it art, that’s his business, but it’s not up to me to decide that. That’s all figured out later.† Serra, then, is very much aware of the implications of his work. If Serra is indeed just â€Å"figuring out what lead does† (gravitationally, molecularly, etc.), why should anyone think of it as art? If he doesn’t take the responsibility of it being art, who can, or should? His work certainly appears to be empirically verifiable: lead can do, and be used for, many physical activities. In itself this does anything but lead us into a dialogue about the nature of art. In a sense then he is a primitive. He has no idea about art. How is it then that we know about â€Å"his activity†? Because he has told us it is art by his actions after â€Å"his activity† has taken place. That is, by the fact that he is with several galleries, puts the physical residue of his activity in museums (and sells them to art collectors – but as we have pointed out, collectors are irrelevant to the â€Å"condition of art† of a work). That he denies his work is art but plays the artist is more than just a paradox. Serra secretly feels that â€Å"arthood† is arrived at empirically. Thus, as Ayer has stated: There are no absolutely certain empirical propositions. It is only tautologies that are certain. Empirical questions are one and all hypotheses, which may be confirmed or discredited in actual sense experience. And the propositions in which we record the observations that verify these hypotheses are themselves hypotheses which are subject to the test of further sense experience. Thus there is no final proposition.22 What one finds all throughout the writings of Ad Reinhardt is this very similar thesis of â€Å"artas-art,† and that â€Å"art is always dead, and a ‘living’ art is a deception.†23 Reinhardt had a very clear idea about the nature of art, and his importance is far from recognized. Because forms of art that can be considered synthetic propositions are verifiable by the world, that is to say, to understand these propositions one must leave the tautological-like framework of art and consider â€Å"outside† information. But to consider it as art it is necessary to ignore this same outside information, because outside information (experiential qualities, to note) has its own intrinsic worth. And to comprehend this worth one does not need a state of â€Å"art condition.† From this it is easy to realize that art’s viability is not connected to the presentation of visual (or other) kinds of experience. That that may have been one of art’s extraneous functions in the preceding centuries is not unlikely. After all, man in even the nineteenth century lived in a fairly standardized visual environment. That is, it was ordinarily predictable as to what he would be coming into contact with day after day. His visual environment in the part of the world in which he lived was fairly consistent. In our time we have an experientially drastically richer environment. One can fly all over the earth in a matter of hours and days, not months. We have the cinema, and color television, as well as the man-made spectacle of the lights of Las Vegas or the skyscrapers of New York City. The whole world is there to be seen, and the whole world can watch man walk on the moon from their living rooms. Certainly art or objects of painting and sculpture cannot be expected to compete experientially with this? The notion of â€Å"use† is relevant to art and its â€Å"language.† Recently the box or cube form has been used a great deal within the context of art. (Take for instance its use by Judd, Morris, LeWitt, Bladen, Smith, Bell, and McCracken – not even mentioning the quantity of boxes and cubes that came after.) The difference between all the various uses of the box or cube form is directly related to the differences in the intentions of the artists. Further, as is particularly seen in Judd’s work, the use of the box or cube form illustrates very well our earlier claim that an object is only art when placed in the context of art. A few examples will point this out. One could say that if one of Judd’s box forms was seen filled with debris, seen placed in an industrial setting, or even merely seen sitting on a street corner, it would not be identified with art. It follows then that understanding and consideration of it as an artwork is necessary a priori to viewing it in order to â€Å"see† it as a work of art. Advance information about the concept of art and about an artist’s concepts is necessary to the appreciation and understanding of contemporary art. Any and all of the physical attributes (qualities) of contemporary works, if considered separately and/or specifically, are irrelevant to the art concept. The art concept (as Judd said, though he didn’t mean it this way) must be considered in its whole. To consider a concept’s parts is invariably to consider aspects that are irrelevant to its art condition – or like reading parts of a definition. It comes as no surprise that the art with the least fixed morphology is the example from which we decipher the nature of the general term â€Å"art.† For where there is a context existing separately of its morphology and consisting of its function one is more likely to find results less conforming and predictable. It is in modern art’s possession of a â€Å"language† with the shortest history that the plausibility of the abandonment of that â€Å"language† becomes most possible. It is understandable then that the art that came out of Western painting and sculpture is the most energetic, questioning (of its nature), and the least assuming of all the general â€Å"art† concerns. In the final analysis, however, all of the arts have but (in Wittgenstein’s terms) a â€Å"family† resemblance. Yet the various qualities relatable to an â€Å"art condition† possessed by poetry, the novel, the cinema, the theatre, and various forms of mus ic, etc., is that aspect of them most reliable to the function of art as asserted here. Is not the decline of poetry relatable to the implied metaphysics from poetry’s use of â€Å"common† language as an art language?24 In New York the last decadent stages of poetry can be seen in the move by â€Å"Concrete† poets recently toward the use of actual objects and theatre.25 Can it be that they feel the unreality of their art form? We see now that the axioms of a geometry are simply definitions, and that the theorems of a geometry are simply the logical consequences of these definitions. A geometry is not in itself about physical space; in itself it cannot be said to be â€Å"about† anything. But we can use a geometry to reason about physical space. That is to say, once we have given the axioms a physical interpretation, we can proceed to apply the theorems to the objects which satisfy the axioms. Whether a geometry can be applied to the actual physical world or not, is an empirical question which falls outside the scope of geometry itself. There is no sense, therefore, in asking which of the various geometries known to us are false and which are true. Insofar as they are all free from contradiction, they are all true. The proposition which states that a certain application of a geometry is possible is not itself a proposition of that geometry. All that the geometry itself tells us is that if anything can be brought under the definitions, it will also satisfy the theorems. It is therefore a purely logical system, and its propositions are purely analytic propositions. –A. J. Ayer26 Here then I propose rests the viability of art. In an age when traditional philosophy is unreal because of its assumptions, art’s ability to exist will depend not only on its not performing a service – as entertainment, visual (or other) experience, or decoration – which is something easily replaced by kitsch culture, and technology, but, rather, it will remain viable by not assuming a philosophical stance; for in art’s unique character is the capacity to remain aloof from philosophical judgments. It is in this context that art shares similarities with logic, mathematics, and, as well, science. But whereas the other endeavors are useful, art is not. Art indeed exists for its own sake. In this period of man, after philosophy and religion, art may possibly be one endeavor that fulfills what another age might have called â€Å"man’s spiritual needs.† Or, another way of putting it might be that art deals analogously with the state of things â€Å"beyond physics† where philosophy had to make assertions. And art’s strength is that even the preceding sentence is an assertion, and cannot be verified by art. Art’s only claim is for art. Art is the definition of art. NOTES * Reprinted from Studio International (October, 1969). 1 Morton White, The Age of Analysis (New York: Mentor Books), p. 14. 2 Ibid., p. 15. 3 I mean by this Existentialism and Phenomenology. Even Merleau-Ponty, with his middle-of-the-road position between empiricism and rationalism, cannot express his philosophy without the use of words (thus using concepts); and following this, how can one discuss experience without sharp distinctions between ourselves and the world? 4 Sir James Jeans, Physics and Philosophy (Ann Arbor, Mich.: University of Michigan Press), p. 17. 5 Ibid., p. 190. 6 Ibid., p. 190. 7 The task such philosophy has taken upon itself is the only â€Å"function† it could perform without making philosophic assertions. 8 This is dealt with in the following section. 9 I would like to make it clear, however, that I intend to speak for no one else. I arrived at these conclusions alone, and indeed, it is from this thinking that my art since 1966 (if not before) evo lved. Only recently did I realize after meeting Terry Atkinson that he and Michael Baldwin share similar, though certainly not identical, opinions to mine. 10 Webster’s New World Dictionary of the American Language. 11 The conceptual level of the work of Kenneth Noland, Jules Olitski, Morris Louis, Ron Davis, Anthony Caro, John Hoyland, Dan Christensen, et al., is so dismally low, that any that is there is supplied by the critics promoting it. This is seen later. 12 Michael Fried’s reasons for using Greenberg’s rationale reflect his background (and most of the other formalist critics) as a â€Å"scholar,† but more of it is due to his desire, I suspect, to bring his scholarly studies into the modern world. One can easily sympathize with his desire to connect, say, Tiepolo with Jules Olitski. One should never forget, however, that a historian loves history more than anything, even art. 13 Lucy Lippard uses this quotation in a footnote to Ad Reinhardt’s retrospective catalogue, January, 1967, p. 28. 14 Lucy Lippard, â€Å"Constellation by Harsh Daylight: The Whitney Annual,† Hudson Review, Vol. 21, No. 1 (Spring, 1968). 15 Arthur R. Rose, â€Å"Four Interviews,† Arts Magazine (February, 1969). 16 As Terry Atkinson pointed out in his introduction to Art-Language (Vol. 1, No. 1), the Cubists never questioned if art had morphological characteristics, but which ones in painting were acceptable. 17 When someone â€Å"buys† a Flavin he isn’t buying a light show, for if he was he could just go to a hardware store and get the goods for considerably less. He isn’t â€Å"buying† anything. He is subsidizing Flavin’s activity as an artist. 18 A. J. Ayer, Language, Truth, and Logic (New York: Dover Publications), p. 78. 19 Ibid., p. 57. 20 Ibid., p. 57. 21 Ibid., p.90. 22 Ibid., p. 94. 23 Ad Reinhardt’s retrospective catalogue (Jewish Museum, January, 1967) written by Lucy Lippard, p. 12. 24 It is poetry’s use of common language to attempt to say the unsayable that is problematic, not any inherent problem in the use of language within the context of art. 25 Ironically, many of them call themselves â€Å"Conceptual Poets.† Much of this work is very similar to Walter de Maria’s work and this is not coincidental; de Maria’s work functions as a kind of â€Å"object† poetry, and his intentions are very poetic: he really wants his work to change men’s lives. 26 Op. cit., p. 82.

Rat Race :: essays research papers

Ah, â€Å"the rat race†. A term used so often to describe the frantic way of living people are in to gain success. It’s also something our economy thrives off of. You wouldn’t think so, but it’s true. That’s why I chose it to be my essay topic. It’s that need to get to work in the morning to spend yet another day kissing butt and working like a dog so maybe just maybe you’ll be able to have enough money to live on. Until of course you’re on your way home and see the cutest little thing in the store window and that little voice in your head says, â€Å"oh darling it’s simply perfect, you’ve just got to have it†. That voice gets everyone into trouble doesn’t it? The picture on the cover of this report describes â€Å"the rat race† perfectly. Our world is a never-ending cycle of earning and spending. (I’m sorry if I offend the smart ones who actually SAVE money). Our economy prospers from stupid spending. Eighty-dollar jeans here, one hundred and fifty dollar sneakers there. Things that were thought of as luxuries before have now become necessities. Cell phone, beepers, these are now things people need rather than would like to have. Economic status is now based superficially. â€Å"Oh look they have a Rolex and a suit and a cell phone, they must be rich†! In case no one noticed, everyone and there mother has a cell phone these day whether they can afford it or not, the suit is probably a cheap knock of some famous designer and the â€Å"Rolex† is probably one of those â€Å"ten dollar ten dollar† deals. But since people look at us by what we have more than anything else, we feel the need to buy more things. So we earn money to buy things we don’t need just so we have the appearance of being well off. That’s everyone’s goal these days, to be well of. But you know what it’s good that people are this dumb. Know why? Our economy wouldn’t be able to live without it. In the picture, you see the rats(a.k.a. us) running through a maze (a.k.a. Life) you see the sign saying â€Å"Happiness is just around the corner†. No matter where the rats are happiness is just around the corner. But to get to â€Å"happiness† what has to be done? Well first you’ve got to work harder.

Writing Academic Papers

How do you feel about writing academic papers? If you have enjoyed writing in the past, what did you like about the process of writing? If you have not enjoyed it, why not? Did you have any of the misconceptions about writing discussed in Chapter 1 of the text? What did you learn in the chapter that you think might be helpful to you in writing papers here at Ashford University? I do not like writing academic papers. It is very time consuming and some require doing a lot of research on the topic.I don’t like write papers because the subject is not of interest to me sometimes. I also find it a little difficult to do a thesis statement. In reading Chapter 1, â€Å"many writing experts suggest keeping a personal journal or a diary to help you understand what you have read and to sharpen your writing skills† (Sole, 2010). I’m going to start journaling at least twice a week to help improve my writing skills. Sole, K. (2010). Essentials for College Writing. San Diego, B ridgepoint Education, Inc. ttps://content. ashford. edu After studying the active reading strategies in Chapter 2 of the text, read Chapters 1 and 2 and your Instructor’s Guidance for Week One again, applying the SQ3R strategy as you reread the materials. Discuss how this reading strategy is similar or different from the way you read the material previously. Do you think this strategy improved your comprehension of the course materials? Discuss whether the strategy will or will not be helpful to you in your college courses?SQ3R stands for Survey, Question, Read, Recite, and Review. â€Å"Survey means to skim headings, subheadings, chapter summary, charts, and tables in text; Question the headings and subheadings into questions; Read to find the answers to your questions and record the answers by highlighting, underlining, or taking notes; Recite and summarize what you learned by telling someone else or writing it down; and Review by going back and reading your notes or infor mation that you highlighted or underlined to einforce learning and to commit the information to memory† (Sole, 2010). After reading Chapters 1, 2, and the Instructor’s Guidance for the second time and applying the SQ3R process, I can say that I follow this guideline as I’m doing school work. I think it is a good and helpful strategy to follow and will improve how you comprehend whatever you’ve read. Sole, K. (2010). Essentials for College Writing. San Diego, Bridgepoint Education, Inc. https://content. ashford. edu