Poems About Australian Identity Essay Example

Poems About Australian Identity Essay Example Poems About Australian Identity Essay Poems About Australian Identity Essay AUSTRALIAS DAY: 1942 In Memoriam W. J. Miles IF EVER it were time for the dead to ride then surely that time is now: From the Leeuwin’s cliffs to the roar of Sydney-side, from Wyndham to the Howe call up your ghosts, Australia, call up your many dead; your Kelly and your Lalor and the shirted men they led; call up your brave, your Stuart, your Wentworth, your Benelong, your men who dared Hashemy with its bitter slavish wrong. Call up your quietened singers from the silence of the grave, who sang your latent spirit to the complaining wave. Call up your myths and your legends, your men of song and tale, men from the Snowy, the Centre, and lakes where Bunyips wail, your seekers, your finders, your fighters, your men who with Clancy ride, Lawson’s men from the western creeks, and a thousand more beside. Call up your ghosts, Australia, and set them riding far to rouse a sleeping nation to its seven-pointed star. Call up your dead, Australians, and bid them ride with you to set your rivers brimming with Eureka’s flood anew. Call up your hosts, Australia, to strive with you amain, o fight, to sting, to honor, your Flag of Stars again. Then, when the day is over, whether to shout or to weep, keep ever your dead alive in you, oh, never let them sleep, for the nation that forgets its dead, that lets its heroes lie dust-deep in its mind forever is surely ripe to die. And only those go on, in glory their story to make, who ever keep their dead alive, and their songs and heroes awake Now is the time for the nation’s urgent dead to ride, so set them riding here and now – from the Leeuwin’s cliffs to the roar of Sydney-side, from Wyndham to the Howe.

Steampunk

Steampunk Steampunk Steampunk By Maeve Maddox My introduction to the term steampunk came when I read what I thought was a mystery with a historical setting and came to the part where Queen Victoria was hooked up to a steam-powered life-support machine. You’d better believe that I flipped frantically to the back cover to find a clue to what I was actually reading. There I discovered the word steampunk. Steampunk is a subgenre of science fiction. The setting is often 19th century England or the American Wild West; there the characters encounter amazing steam-powered machinery. According to Wikipedia, the word steampunk originated in the late 1980s â€Å"as a tongue-in- cheek variant of cyberpunk.† Yes, I had to look up the meaning of cyberpunk: a subgenre of science fiction typified by a bleak, high-tech setting in which a lawless subculture exists within an oppressive society dominated by computer technology. Sci-fi author K.W. Jeter coined the term â€Å"steam-punk† for sci-fi that resembled the speculative fiction written in the 19th century by H.G. Wells and Jules Verne. The genre now includes settings beyond recognizable historical periods, but in dialogue and costuming, the feel is still â€Å"Victorian.† On the screen, Wild Wild West, The League of Extraordinary Gentlemen, and the two Robert Downey Jr. Sherlock Holmes movies are typical of the steampunk genre. The literary genre has spawned a subculture called â€Å"the steampunk lifestyle† which blends Victorian design and clothing with modern technology. Practitioners shop at second-hand stores, wear suspenders, vests, and corsets (outside their clothing). They carry pocket watches and disguise their cell phones and laptops as Victorian artifacts. The steampunk lifestyle seems to be a kind of genteel back-to-basics hybrid that embraces technology while rejecting consumerism. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Vocabulary category, check our popular posts, or choose a related post below:7 Examples of Passive Voice (And How To Fix Them)36 Poetry Terms25 Idioms About Bread and Dessert

Business Information System Essay Example | Topics and Well Written Essays - 4500 words

Business Information System - Essay Example He shall at all times order his conduct to safeguard the public interest and to the best of his ability uphold the reputation and dignity of the Profession". 2. Members shall ensure that they have got enough knowledge in the chosen fields and have proper understanding of relevant legislation, regulations and standards, and that they adhere to such requirements. 4. Members shall not disclose to a third party any confidential information acquired in the course of their professional practice, or use such information for personal gain or for the benefit of a third party without the prior written permission of the employer or client, or at the direction of a court of law. 5. Members shall act with integrity while dealing with fellow members and with the members of other professions with whom they are related in a professional capacity and shall not do any activity that is against the professional status. 6. Members shall endeavor to upgrade their professional knowledge and skill and shall well informed of technological developments, procedures and standards which are relevant to their field, and shall encourage their subordinates to do likewise. (Don Gotterbarn, British Computer Society Code of Conduct, http://www.ccsr.cse.dmu.ac.uk/resources/professionalism/codes/Bcs.html, retrieved on 31st March, 2009) 3 Each member of BCS should adhere to the above rules and must know that if there is any conflict in the member's professional life with regard to the personal interest and duty to others, the duty to the society must prevail. Failure in adhering to any of the stipulated conduct rules will harm the ethics of the profession and it may lead to IS project failure. If a professional during professional practice fails to safeguard public health and safety, and does harm to the environment he will be ruining himself as he is also a member of the very community. His action will attract public concern and the activity of the very profession will be termed as anti social. This will in turn affect the success of the IS project and ultimately the project will become a total failure. A professional must have thorough knowledge in the relevant field. Or else, he could not perform well in his job. Failure in carry out the entrusted work in time will affect the whole project. The quality will be lost and the clients will be dissatisfied and this in turn will adversely affect the progress of the professin itself. If the professional does not have proper knowledge in relevant legislations and other standards and regulations, how could he carry out the entrusted work. Whatever he does will only invite litigation and other hardships. Ultimately these incapabilities will cause the winding of the project bringing in unemployment and other related

Marketing Report Case Study Example | Topics and Well Written Essays - 3000 words

Marketing Report - Case Study Example The current revolution of information and communication technologies is changing our business environment drastically: new technologies influence the way we organize our work and the environment in which we compete, introducing new rules and new relative powers among incumbents, newcomers and even entire markets. This complex, evolving environments are referred to as new technology playgrounds This paper focuses on the case of Parker Pen Company. The first part of the paper provides an overview of the case and the nature of the marketing and communication techniques used by the company, the second part of the paper focuses on some of the miscalculations the company did, that cost them a fortune. The last part of the paper provides the conclusion and recommendation. The case Parker Pen Company focuses on a key player in the writing industry. It main activities include the manufacturing of writing instruments and are one of the world's best known companies in the domain. As a global company, its products are sold in 154 countries and the company considered itself number one in 'quality writing instruments'. ... The last part of the paper provides the conclusion and recommendation. 1.1Overview of the Parker Pen Company Case The case Parker Pen Company focuses on a key player in the writing industry. It main activities include the manufacturing of writing instruments and are one of the world's best known companies in the domain. As a global company, its products are sold in 154 countries and the company considered itself number one in 'quality writing instruments'. Things didn't work out and remain the way the company had thought and plan as its global marketing and communicating strategies designed and planed at the headquarters cost the company a fortune. The company failed and made huge marketing and product positioning mistakes, they neglected local values and cultures and in all management failed to recognize that, as other one size fit all brands like coca cola, Parker Pen Company with its quality writing instruments cannot be matched and placed in the same domain. Huge other errors and calculations were made and to make matter worst, practitioners and pioneer of the Parker Pen global marketing concepts were fired. A company that was once used as benchmarking models a super hero, and a world class in quality writing instrument became a laughing stock. In global marketing, if cultural and competitive differences are less important than their similarities, a single advertising approach can exploit these similarities to stimulate sales everywhere, and at far lower cost than if campaigns were developed for each. However, the situation of Parker Pen proofs the contrary. The company's marketing department would have acted with respect to different market, for the issue of standardization, one sound, one size as in the situation of coca cola

Peter Eisenman Essay Example for Free

Peter Eisenman Essay Introduction * Peter Eisenman was born in 1932 in Newark, New Jersey. He studied architecture from 1951 to 1955 at Cornell University in Ithaca, New York, and later at Columbia University in New York City, and concluded his academic training in 1963 with a doctoral thesis on design theory. * He worked together with Charles Gwathmay, John Hejduk, Michael Graves and Richard Meier in the architects’ group  »The New York Five. At this time, Eisenman developed his principles for design theory in a number of key publications. * At the beginning of the 1980s, Eisenman established his own architectural practice in New York, and since that time has created a number of important and diverse structures. * A recurrent topic is his thesis about an architecture of memory, from which he derives the postulate of a place-oriented or  »textual « architecture, which affords the observer a unique experience, difficult to express adequately, of space and time. MEMORIAL OF MURDERED JEWS, BERLIN INTRODUCTION * The Memorial to the Murdered Jews of Europe, also known as the Holocaust Memorial, is a memorial in Berlin to the Jewish victims of the Holocaust. * The Berlin Holocaust memorial was the outcome of a process which extended over a period of 17 years, moving from a grass-roots initiative to a government resolution and eventually a multi-stage competition. * Peter Eisenman won the competition and construction of project started in April 2003. It was inaugurated on May 10’ 2005, sixty years after the end of World War II. CONCEPT * Generally, while experiencing a building a person walks through the building perceiving columns on the left and moving around and again there are columns on the right, so there can be a sort of conclusion about the building being symmetric, axial etc. So understanding of a buildings comes from being presence in the experience.But in the holocaust memorial, experiencing the building does not give you understanding of the monument. In this project, when we move, we do not learn anything, there is no specific path to follow, any point within the memorial is no different than any other point.The underlying idea behind the memorial was to reduce the meaning of experience because this relates to what happened in camps. The memorial intends to show the absence of meaning in the executions carried out in camps.The memorial is an analogy to experience of the camps but also an analogy to the idea of breaking down the relationship between experience and understanding. * Often referred to as a â€Å"field of stelae,† the memorial consists of 2711 concrete stelae (95 cm x 2.37 m), with heights varying from less than a meter to 4 meters. * The stelae are separated by a space equal to the width of an individual stele, or enough room for a single individual to pass through. * The memorial is traditional in the sense of using material such as concrete, which is a common means for the construction of memorials, but it is innovative in its form and design. * There is a quality of indeterminacy to the entire field, despite what appears to be a regularly spaced grid. Regularity is only perceived when standing on top of one of the lower pillars at the perimeter or in an aerial photograph. * Upon approaching the site, one might assume that the stelae are evenly spaced but the undulating ground surface defeats the sense of a grid, as does the actual experience of walking through the relatively confined spaces and the existence of varying views framed and obstructed by the stelae. * Eisenman relates this monument to a living memory rather than a sentimental memory as the holocaust cannot be remembered in the first, nostalgic mode, as its horror forever ruptured the link between nostalgia and memory. Remembering the Holocaust can, therefore, only be a living condition in which the past remains active in the present. * The space of the memorial is not overwhelming in scale, the instability of the ground and unpredictability of the heights of the stelae interact to frustrate understanding of the space. * One is further confused or disoriented by the narrow alleys which are not truly perceived as straight lines, due to the varying heights of the concrete slabs and the uneven ground plane. * Perhaps even more disorienting is the fact that there are no written cues or symbols of any sort. Immediately discounting the notion that one should â€Å"read† the pillars as tombstones is the absence of any language and any apparent â€Å"right† or â€Å"wrong† direction or ending point. INFORMATION CENTER * The Information Centre beneath the Field of Stelae documents the persecution and destruction of the Jews of Europe and the historical sites of the crimes. * The focus of the exhibition lies on the personalisation of the victims and on the geographical dimension of the Holocaust. * A major section of the information centre that supplements the memorial is dedicated to informing the visitor about authentic sites – even about the ones that do not exist any more for reasons of concealment during the Third Reich. * The information centre stresses the importance of authentic sites and encourages the visitation thereof. AUTHENTICITY AND PURPOSE OF MEMORIAL * During the painful debates about erecting such a memorial, a major aspect of criticism was the danger of authentic sites of the holocaust losing their importance. Thus, it is vital to distinguish the different roles of authentic sites from the artificially created monument. * The more specified function was read in the resolution by the German bundestag (a legislative body) of June 1999. â€Å"With the memorial we intend to honour the murdered victims, keep alive the memory of these inconceivable events in German history ,admonish all future generations never again to violate human rights, to defend the democratic constitutional state at all times, to secure equality before the law for all people and to resist all forms of dictatorship and regimes based on violence.† * Peter Eisenman,the architect of the memorial says about its intention that â€Å"The enormity and scale of the horror of the Holocaust is such that any attempt to represent it by traditional means is inevitably inadequate Our memorial attempts to present a new idea of memory as distinct from nostalgia We can only know the past today through a manifestation in the present.† * The design is to turn the visit of the memorial into an individual experience that causes the visitor to reflect about the genocide. * Each individual entering the field of stelae will find him- or herself wandering alone, because the paths in between the concrete slabs are not wide enough for two people to walk next to each other. Thus, the visitation turns into an individual experience. * Lea Rosh, the initiator of the memorial stated that this meant to raise the murdered above their murderers and to raise the victims above the perpetrators. CONCLUSION * Looking at the historical significance of the claimed area, the memorial gains a layer of authenticity, but what is almost of more importance is the setting of the memorial in the government quarter and in the heart of the capital. * Time will show if the memorial will live up to the definition of authenticity in the sense of heritage conservation where it is understood â€Å"as the ability of a property to convey its cultural significance over time†. * For one thing is sure, that the memorial’s cultural significance is complex for being a monument to honour the Jewish victims of the holocaust and at the same time a testimony of Germany’s accounting with the past. WEXNER CENTER OF ARTS, OHIO INTRODUCTION * The firm of Peter Eisenman and Richard Trott won the design competition for Wexner Center of Arts. * Eisenman wowed the Jury with his bold ideas for the art center, which were aimed at linking the past to the present (â€Å"Timeless Earth 1), through the use of unconventional means. * The end result became both Peter Eisenman’s first large public commission and one of the first large scale constructions of Deconstructivist Architecture. * The building is tucked in between the Mershon Auditorium and Weigel Hall both of which are home to programs that were to be consolidated into the Wexner Center. DESIGN PROCESS * The literal use of the rotated grid is used by Eisenman as an extensive method of giving the architecture its own voice. * The identification of the dialectic grids stems from conditions that exist at the boundary of the site, Eisenman then grafts one grid on top of the other and seeks potential connections or ‘event sites’ at the urban, local, and interior scales. * Scalar operations are performed as a means of mediating the scale of the urban grid towards a pedestrian or human scale, lastly, the results of these operations serves as a map that is used to locate program, pathways, structure, interior forms, excavations, and views along the newly afforded possibilities of ‘event sites’ in both the horizontal and vertical planes. * The results of these operations are visible in almost every aspect of the construction, from the module in the curtainwall, the tiling of the pavers, planters and trees on site. * To add to the depth of possibilities afforded by this excavation of the immediate condition of the grid Eisenman grafts figured scaffolding onto the site and integrates this figure into the primary circuit or pathway of the building. * The scaffolding is scaled to represent the module of the grid that is interpretable at a human scale. * The scaffold is reduced to its raw type, to the essential condition that signifies the essence of its existence that being an impermanent accessory to architecture that allows its construction, but does not necessarily shelter. * This architecture of non-shelter is aligned directly adjacent to an interior pathway within the building that does enclose and protect. * Eisenman coupled his grid abstractions with a series of figures that would play a key role in his aim of linking the past with the present. * The most prominent of these figures exists as a reconstruction of a part of the armoury that occupied the site from 1898 until it was terminally damaged by fire on May 17th 1958. * The figure of the armoury Eisenman has presented along the south pedestrian access (the most visually accessible elevation of the building) has been reduced to a series of fragments of armoury-like forms that indicate the ‘essence’ of the armoury without reproducing any of the original intricate detail. * Within the armoury forms the negative space carved out of the solid brick masses that make up these figures is cast with a dark tinted curtain wall, within which is an aluminum mullion pattern evocative of the use of grid. * The contrast created by the anodized aluminum of the mullions intensifies the impenetrable depth of the glass. * The lack of historical fidelity in the reconstruction of the armoury, the fragmentation of the form, and the insertion of dark glass into the voids left between these fragments seems to speak of the disjointed manner in which we reflect the past, and in turn, it serves to remind us of a past we have lost and can never return to. * In revisiting the design devices that Eisenman used in the design of the Wexner Center for the Arts is has been possible to determine that much of the abstraction of form derives itself from co-related processes. * Initiated by a series of processes which appropriate and manipulate ‘rotate’ the coordinates of the urban and pedestrian, horizontal and vertical, and the past and the present Eisenman produces three very distinctive extensive and intensive operations of shifting, figuring, fragmenting that coalesce into an engaging ecology for the celebration of creative thought. HOUSE VI * In the earlier stage of his career he designed a series of houses, named as house I to house X. His House II, VI and X are most famous projects of his initial ones. * Eisenman, one of the New York Five, designed the house for Mr. and Mrs. Richard Frank between 1972-1975 who found great admiration for the architect’s work despite previously being known as a â€Å"paper architect† and theorist. * By giving Eisenman a chance to put his theories to practice, one of the most famous, and difficult, houses emerged in the United States. * Situated on a flat site in Cornwall, House VI stands its own ground as a sculpture in its surroundings. * The design emerged from a conceptual process that began with a grid. Eisenman manipulated the grid in a way so that the house was divided into four sections and when completed the building itself could be a â€Å"record of the design process.† * Therefore structural elements, were revealed so that the construction process was evident, but not always understood. * Thus, the house became a study between the actual structure and architectural theory. The house was effeciently constructed using a simple post and beam system. * However some columns or beams play no structural role and are incorporated to enhance the conceptual design. For example one column in the kitchen hovers over the kitchen table, not even touching the ground! In other spaces, beams meet but do not intersect, creating a cluster of supports. * The structure was incorporated into Eisenman’s grid to convey the module that created the interior spaces with a series of planes that slipped through each other. * Purposely ignoring the idea of form following function, Eisenman created spaces that were quirky and well-lit, but rather unconventional to live with. * He made it difficult for the users so that they would have to grow accustom to the architecture and constantly be aware of it. For instance, in the bedroom there is a glass slot in the center of the wall continuing through the floor that divides the room in half, forcing there to be separate beds on either side of the room. * Another curious aspect is an upside down staircase, the element which portrays the axis of the house and is painted red to draw attention. * There are also many other difficult aspects that disrupt conventional living, such as the column hanging over the dinner table that separates diners and the single bathroom that is only accessible through a bedroom. * Eisenman was able to constantly remind the users of the architecture around them and how it affects their lives. * He succeeded in building a structure that functioned both as a house and a work of art, but changing the priority of both so that function followed the art. * He built a home where man was forced to live in a work of art, a sculpture, and according to the clients who enjoyed inhabiting Eisenman’s artwork and poetry, the house was very successful. MICHAEL GRAVES * Michael Graves arrived in Princeton in 1962, when university offered him first ‘real’ job. * He had worked briefly for architect George Nelson in New York before spending two years at American Academy in Rome, a sojourn which was to have the most profound influence on his mature architecture. * Michael Graves and his two firms have received over 200 awards for design excellence in architecture, planning, interior design, product design and graphic design. Graves is the recipient of the 2001 Gold Medal of the American Institute of Architects. * Michael Graves is considered as one of the five architects, known as ‘New York Five’, which includes (Eisenman, Graves, Meier, Hejduk and Charles Gwathmey.) GRAVES WAREHOUSE RESIDENCE * Michael Graves house in the university town of Princeton, New Jersey, is a highly personal work by an architect best known for large-scale projects. * The residence is being renovated from a ruined warehouse. So Graves often address his house as ‘warehouse’. * Modest in scale and virtually invisible from the public street, the ‘Warehouse’ is nonetheless a symbol of Graves’ passionate belief in an architecture which is both natural and humane. Its quiet grandeur reflects his final rejection of the machine aesthetic of the Modern Movement. * The house is a personal statement and a private retreat, where Graves keep the furniture, pictures, books, sculptures and other objects accumulated during a lifetime of collecting. * Graves like John Soane, sees his house as a place to display his collections, which will one day be available to the interested public. John Soane’s museum house has always been an inspiration for Graves. * The warehouse is an L-shaped building, consisting of a northern wing and an eastern wing. * The original north wing, hidden from the street, had large doors where trucks regularly disgorged loads of household accessories. * The later wing, at right angle, was much narrower. It was here that Graves first made his home. He installed a kitchen and bathroom and lived like a student at first. * In mid eighties with his practice booming, he tackled the northern wing, bringing in other members of his office to assist and began work on the garden. This second phase of work took four years and was followed by a year of work in the kitchen wing. * The formal inauguration of house take place in 1992, when a conference of US Governors took place in Princeton and Graves held a garden party for the Governors’ spouses. EXTERIOR * The exterior has a quiet monumentality, which derives from the vernacular barns and farmhouses of the Italian countryside. * Graves have rejected ‘canonic’ classicism in favour of a freer and more ‘natural’ approach to design and stresses that the house is intended as a practical place to live rather than a monument, despite his long term plans to preserve it and possibly house an archive of his work there. * The elevation of the house cannot be read in terms of conventional classical design. Informal and vernacular in inspiration, they equally have an almost Cubist abstraction which suggests connection with Graves’ earlier houses. * The chimney stack in particular, is a boldly expressed sculptural design. * The unity of house and garden is key theme. Graves seeks an idealized landscape, recalling those he loves to paint in Italy, and planting is subordinated to an overall architectural intent. The warm and slightly irregular texture of the stucco, contributes greatly to the overall effect of the exterior. * Highly sculptural in treatment and rigorous in its exclusion of ornament, the Warehouse looks beyond replication and more genuine ‘traditionalism’. * The entrance court at the house is a dynamic and yet comfortable space, open to the sky and preparing guests for the relatively low and intense entrance hall. * The dining room looks into this space, which has an agreeable ‘inside/out’ quality. INTERIOR LIBRARY * The Library is placed such that it behaves as connecting area between Living room and East garden. * The library has a sense of verticality and highly architectural in treatment, like a street of colonnaded buildings. * Skylight enlightens the volume of the library from the top. WORKSPACE * The house is close to Graves’ office, but he occasionally works in here and keeps a small functional study room on the first floor. * He often expresses himself in the delicate, enigmatic water colours he paints, on his tours. * Study room is lit by the square window on the front wall. LIVING ROOM * Graves’ living room is equally made for comfort rather than mere show. The relatively low floor to ceiling heights in the building – dictated by the original structure – have been cleverly utilized to produce interiors of some intensity. * Alcoves to the living room are distinctly Soanean in form, but reflects the dimension of original store rooms used by Princeton students to store everything from books to grand pianos. * A terra-cotta-colored wall sets off furnishings that range from antiques to chairs designed by Michael Graves. DINING ROOM * The dining room is lit by tall metal framed windows which look onto the courtyard which seems to form a natural extension to the space. * The chimney-piece has an austerity which is more Modernist than Classical. * Many of the accessories in this room were sold as Grand Tour souvenirs a century ago. Michael designed the glass-and-metal centerpiece vessel for Steuben (Manufacturer of handmade art glass and crystal). CONCLUSION * The Warehouse is a highly personal building, which expresses not just Michael Graves, master builder, but equally Graves the sceptic and questioner of orthodoxies, whether modern or ‘traditional’. The house is clearly both modern and traditional. * If its plan is essentially Classical and its use of light and shade specifically Soanean, the easy flow of the spaces and the essential informality of the building provide a reminder of its architect’s roots in the Modern movement * The Warehouse is indeed, a clear statement of a lively traditionalism which remains a powerful strand in contemporary American design. * Its quiet beauty is the work of a man who has played a key role in reshaping the face of architecture in the late twentieth century. DENVER CENTRAL LIBRARY * Michael Graves was commissioned in 1990 to renovate and design an extension to the Denver Central Library. * Sitting adjacent to Denver Art Museum, the Denver Central Library stands as the 8th largest library in the United States. * The 405,000 s.f. addition to the existing library allows for the original building designed by Burnham Hoyt in 1956 to maintain its own identity. * So much so that Graves’ addition and the original library are two parts in a larger composition that are connected by a three story atrium. * The expansive atrium serves as a new main entrance that becomes the main focal point for visitor orientation and circulation to either wing of the library. * For a post-modern building, the interior of the library is fairly conservative when it comes to the decorative aesthetics. * Most of the spaces appear as traditional library spaces composed of natural wood evoking a sense of grandeur and extravagance. * Only in the reading rooms is there any trace of the post-modern aesthetic. * One begins to understand the abstracted colonnades, vaulting, and colorful painting creating more of a fun learning environment rather than a stark, serious library space. * In addition to the extensive literary collections, the library functions as a community gathering space consisting of multipurpose rooms, meeting facilities, shops, a cafà ©, and a special â€Å"museum-like† collection on the American West. * The Denver Central Library sits affixed in Downtown Denver as not only an academic institution, but as part of a larger cultural epicenter. MARITIME EXPERIENTIAL MUSEUM * The Maritime Xperiential Museum is an iconic structure that draws its inspiration from sea-going vessels and thus embodies the stories contained in the exhibits and programs presented inside. * Throughout the day, the shadows and dappled light cast by the ribbed frame will enliven the interior exhibits. * The interactive exhibits and the circular 300-seat Typhoon Theater, provide a wide variety of experiences for visitors. * The exhibit focuses on the maritime Silk Route, which historically stretched from Southeast Asia to Oman. Geographically, Singapore is an important part of this history. * The Museum is set back from the water’s edge by an esplanade with a covered pedestrian loggia that allows visitors to enjoy the view of the mainland across the bay. * At night, when viewed from the water, the glass facade of the Museum will reveal the brightly-lit interior, becoming a beacon on the water and a landmark on the horizon. * West of the Museum, a small marina will display examples of sailing vessels, a tourist attraction in its own right, which lends an air of authenticity to the museum complex. * The Museum and Marina are thematically linked to the adjacent outdoor Marine Life Park and form a rich tourist experience focused on the sea, marine life and maritime experiences. * Along the waterfront at the base of Universal Plaza is the Showplace Theater, with large stone steps creating a seating area for 2,000 people. * With views across the bay to the main island, this is the location of the Crane Dance, a nightly sound and light show in the water that epitomizes the fun and drama of Resorts World.

Racial Profiling is Necessary Essay -- Race Racism Prejudice Essays

In order to understand racial profiling, it must first be correctly defined. Although different authors use different criteria for the term racial profiling, Merriam-Webster’s definition for the word racial is â€Å"of, relating to, or based on a race (Merriam-Webster, 2006; p.855).† The definition the dictionary puts forth for profiling is â€Å"the act of suspecting or targeting a person solely on the basis of observed characteristics or behavior (Merriam-Webster, 2006; p.830).† Based on these definitions, racial profiling could be defined for criminal justice purposes as targeting a person based solely on the characteristic of race. Most people, law enforcement officers included, would consider racial profiling based on this definition as ethically wrong. However, a case must be made for the use of profiling based on race in some circumstances. Critics claim that racial profiling has no place within the justice system because it targets minorities who are not necessarily doing anything illegal. They argue that the evidence that shows that racial profiling as a successful tool in the law enforcement arsenal is skewed, and that those targeted are actually less likely to perform illegal acts than others who are not targeted, because those who are not are less likely to get caught, while those who are targeted are much more likely to be caught in an illegal act, so they will perform less illegal activity. The evidence supporting racial profiling states that this argument is invalid because many illegal acts are cited as being done by minorities, specifically in terms of gang activity. Many people feel that racial profiling is ethically sound because in order to obtain a suspect, an officer must be looking for a person with certain chara... ...rian’s perspective and he believed that any profiling based on race is wrong (Fredrickson, 2002; p.166). Conclusion Based on these authors, as well as others, it can be effectively argued that racial profiling is not, in and of itself, an unethical practice. However, it must be used in a precise manner in order to be morally sound. This method includes using it as a tool in the investigative process and not before it has been determined that a crime has been committed. It must also be used in a specific way: to describe an individual suspect and not a group of people who are suspected of possibly committing one crime or another. The witness’s background and bias must be taken into account, and racial profiling must be done equally and without favor to one racial group. After these steps are taken into account, racial profiling cannot be considered unethical.

Ethics in Criminal Justice Administration Essay

Nowhere is ethical behavior more important than the administration of criminal justice. Lack of ethical behavior undermines the purpose of the criminal justice system. The cost of unethical behavior will be the downfall of the criminal justice system and only by gaining a true understanding of what ethical behavior is and how to maintain it will the system continue to flourish. While the ethical standard individuals develop through the years are important; utilizing critical thinking skills ensuring ethical standards stay in place. Many people assume that good ethical behavior is part of an individual’s makeup but in reality ethical behavior is learned and therefore not the same for everyone. Ethical and moral behavior begins developing from the time individuals are young and continues to develop and change during adulthood. It is important to understand that the initial ethical values a person gains usually come from the home environment and are highly influenced by the ethical behavior displayed by parents and family members. Should this life be impacted by crime and violence then this behavior could become the norm and this individual’s ethical values and standards would be outside of the societal norm. As individuals grow into adults life experiences continue to impact ethical and moral standards. Many people live by the assumption that while something may be unethical it is not illegal so no one cares but right and wrong do not always deal in legalities. Just because something is not illegal does not make it right. In the administration of criminal justice ethical considerations are the basis for the use of discretion, force, and due process required to make sound moral decisions. The study ethics helps understand the consequences of actions and the moral principles used. In the administration of criminal justice ethics must be a permanent part of management and policy making related to punishment. Ethics are also a vital part of decision making in regards to rehabilitation, deterrence, and sentencing. Individuals working in the field of criminal justice maintain authority over other individuals lives (Banks,  2004). This power must not be taken lightly. These individuals must be aware of the power of the position and the ethical standards required when carrying out those duties. So how can the system ensure that individuals maintain ethical standards? Training is the answer to ensuring ethical standards. Most individuals are receptive to training and understand the necessity of maintaining ethical standards. The cost of legal fees, litigation and damages from claims of ethical violations could cost millions and it seems simpler to maintain training for staff than pay millions if claims. A recent increase in claims against officers for unethical behavior only substantiates this ideal even more (Eastvedt, 2008). It is important for professionals in the criminal justice field to understand the ethical framework where individuals gain their approach for decision making. The first concept is idealism where it is believed the desired outcome may be obtained through using the appropriate action. The issue for these individuals is choosing the correction action in a given situation. The second concept is relativism. This concept is derived from the ideal that while the desired outcome is preferred, everything is relative to circumstance and therefore undesirable outcomes are inevitable no matter the action taken. There are four approaches to ethical decision making and knowing these will help to identity the orientations of those whom you employ. Situationists believe that everything is relative and base the actions taken on the assessment of the situation. These individuals choose not to acknowledge the universal moral code or rules followed by society. Subjectivist also believe in the relative and reject societal codes however these individuals maintain personal moral principles used when assessing situations. Absolutists follow idealism believing that the best outcome is attained by following the universal moral principles. Exceptionists follow the same belief as absolutists with the slight difference. They believe that certain situations allow deviation from these beliefs (Bailey, 2009). Another important training module is critical thinking. Critical thinking helps individual’s reason right from wrong to ensure good decision making skills. Critical thinking helps individuals make objective decisions when analyzing information. At the core of critical thinking are cognitive skills and affective dispositions. Cognitive skills are used during interpretation, analysis, evaluation, inference, explanation, and self-regulation. Affective  dispositions require and individual to be inquisitive, maintain a concern for being well-informed, know when to employ critical thinking, be aware of one’s own bias, and willingness to reconsider or revise when needed. Making an ethical decision does not occur instantly. Individuals usually have time to consider the action and any alternatives. This is where crimtial thinking plays an intricate part. Critical thinking allow the individual to consider what to believe or what action to take (Meisel & Fearon, 2006). The Williams Institute and the APPA are working together to introduce the compliance based model and responsibility based model into ethics training. The Williams Institute maintains a belief that ethical responsibility is not based on rules and codes rather relationships and responsibility for ones actions. By giving people the tools to make the right decisions, TWI believes that individuals will make the right decision. The first step is to remove fear from the decision making process and enable individuals to be responsible for the decision made (The Williams Institute, 2001). Ethics training for individuals in the field of criminal justice requires an understanding of individuals within the field and the roles held. Individual within this field are analyzed and judged on the decisions made whether ethical or unethical. Discretion is required of all individuals in all areas within the system. Understanding of the discretionary roles of each person is vital to understanding how unethical issues can occur. Legislators have the power to define what is considered illegal and punishable under the law. Police officers have a great amount of discretion during decision making on arrests, citations and investigations. Prosecutors often face the least amount of scrutiny based on the faith placed on them upholding the law. Prosecutors maintain discretion when filing charges, downgrading charges, influencing officers, and the death penalty. Judges maintain discretion over plea bargains, sentencing, reviewing the law, and rules of evidence. Individuals working in corrections have discretion over probation, determining appropriate behavior, supervision of inmates and parole. Each of these individuals has a responsibility for enforcing the law and protecting the rights of the constitution. Training for these individuals should include analytical skills and reasoning, and the ability to recognize the consequences of actions. The five goals that should be attained once the ethical training is completed are being aware and open to ethical issues,  become personally responsible, develop critical thinking skills, understanding how the system often encourages coercion, and the exploring individual feelings (Drylie, J.). Individuals must learn to uphold the rights and liberties of the suspect, the interests of the community, and the law (Albanese, 2006). Ethics in the administration of criminal justice go hand in hand. Individuals who work in the field of criminal justice must maintain ethical integrity to ensure the law functions as designed. As individuals grow and take their place in the world the ethical and moral values from childhood change based on life experiences. Knowing the ethical framework that people use to define their ethical outlook helps administrators develop a plan of action for working with these individuals. By providing training and education to individuals within the criminal justice field society can ensure those values are maintained within the system. References Albanese, J., 2006, Professional Ethics in Criminal Justice: Being Ethical When No One is Looking, retrieved May 12, 2013 from: http://www.thefreelibrary.com/Professional+Ethics+in+Criminal+Justice%3A+Being+Ethical+When+No+One+is†¦-a0158093018†³>Professional Ethics in Criminal Justice: Being Ethical When No One is Looking. Strahlendorf, P., Professional Ethics, Ryerson University, School of Occupational and Public Health, Session No. 174, Retrieved May 12, 2013 from: http://www.bcsp.org/pdf/PresentationsArticles/714_1.pdf Banks, 2004, the Importance of Ethics in Criminal Justice, retrieved May 12, 2013 from: http://www.sagepub.com/upm-data/4031_Banks_Chapter_1_Proof.pdf Drylie, J., Ethics in Criminal Justice, Week 1, CJ3750, Kean University, retrieved May 12, 2013 from: http://www.kean.edu/~jdrylie/docs/Microsoft%20PowerPoint%20-%20Ethics%20Week%201.pdf Eastvedt, Steven R., 2008, Criminal justice ethics- a view from the top, retrieved May 12, 2013 from: http://www.correctio ns.com/news/article/20030 Meisel, S. I., & Fearon, D. S. (2006). â€Å"Choose the future wisely†: Supporting better ethics through critical thinking. Journal of Management Education, 30(1), 149-176. Retrieved from http://search.proquest.com/docview/195719245?accountid=35812

Foot Binding, Status and Society in Early China Essay

In early China, the Han Dynasty to the end of the Manchu Dynasty, there was a practice known as foot binding. Foot binding was considered a symbol of status for women for many reasons. The disabling effects of foot binding caused women not to be able to participate in any form of hard labour, it confined them to the home, and was considered erotic by men, thus acceptable. The explanation for binding ones feet tells us that society at the time was extremely patriarchal, that a women’s chastity was extremely important, and that it was imperative for women to conform to changing cultural ideals. Foot binding was a practice that started during the Tang Dynasty when a prince, Li Yo, enjoyed watching his concubine dance before him with tiny bound â€Å"lily feet†[i]. Since then it became popular in the Han Dynasty. Women would wash and massage their daughters’ feet, turn their toes under, and then they would break their daughters’ arches, and finally wrap the foot tightly in a cotton bandage pulling the big toe and heel together as well as hold the rest of the toes in place[ii]. The average length of the foot was three inches after the process had been completed. This caused the foot to be seriously deformed. The women would be disabled to the point where they could barely walk; sometimes toes would even fall off as a result of the bindings[iii]. Working and peasant class women would not usually have their feet bound because it was necessary for them to be able to do manual labour, but if mothers desired for their daughters to marry into good families they would risk losing their daughters labour to bind their daughters’ feet. [pic] Foot binding was considered a symbol of status for several reasons, many elating to how women were seen during this era. The earlier Chinese peoples had a society based on Confucian values. Confucianism has it’s foundation on the Yin and Yang ideal[iv]. Yin is the representative of all that is bad, weak, and female; and Yang is all that is good, strong, and male. The same can be seen in early Chinese values. At the time of foot binding the Chinese felt that women were weak, immoral, and should be subservient to men. Men felt that the female body should be repressed to keep it chaste and to keep women in their inferior place. Therefore the bound foot allowed women to show their loyalty, publicly, to these ideals. A woman who lived as an obedient and chaste person was desirable to men at the time and foot binding was a way for women to show that they were this way. There are other reasons as well, why foot binding was used as an emblem of status. Besides being a sign of chastity and obedience in a woman, being desirable traits, foot binding was used to show that a female was of a wealthy background (in the beginning). A woman who had her feet bound as a child could not endure standing for any lengthy period of time unassisted. Standing on a bound foot was very painful and most carried a cane to shift their weight on. Therefore, if women could barely stand with bound feet, they also could not work. This meant that only women from families that could afford to do without their labour could afford to bind their feet. As a result when a man’s family, of wealthy background, was in search of a bride they would search for a bride with bound feet because they not only would know that she was from a wealthy background herself, but knew she would not leave the home often, and would not cheat. Mothers often started the binding process on their daughters as young as four years old to ensure their daughters a good marriage later in life[v]. This shows that it was important for a woman to marry into a good family because women were willing to endure such pain for elevated social status and a secure life. When foot binding was prevalent, a man’s needs were second only to a parent’s needs. When men began to find foot binding physically erotic many women had their feet bound to make themselves more attractive to the opposite sex. Just as women today squeeze their feet into tight torturous high heels for the sake of cosmetics, Chinese women bound their feet for the same reason; for the sake of being more physically attractive for men. Men found the â€Å"staggering dance-like walk[vi]† of the bound foot to be extremely erotic. As well the struggle to walk actually made the muscles of the vagina tighter, increasing sexual pleasure for men[vii]. During this period men found the foot to be the most alluring part of the female body, when tightly bound to a length of three inches. Therefore not only was a bound foot a symbol of wealth and adherence to cultural values, but it was also a sign of beauty. The Manchu Dynasty tried to abolish the tradition of foot binding during its rule, but failed. The practice of foot binding went on in China for approximately one thousand years. It was outlawed after 1911 when the Manchu Dynasty fell. There are actually women who still practice foot binding today because they feel it is attractive, but their numbers are very small[viii]. Though the practice is almost extinct today, foot binding continued somewhat after its being outlawed for the sake of tradition which is very important in Chinese culture, then and now. The entire practice of foot binding tells the historian a lot about Chinese society up to the end of the reign of the Manchu Dynasty. Foot binding shows how China was an extreme patriarchy. Society at the time felt that a woman’s place was in the home and to be chaste, a bound foot kept her there. A woman who had bound feet openly showed that she was more than willing to conform to the values of the age for the sake of status. The practice of foot binding also showed that when it came time to be married it was important to be from a wealthy background to ensure a good match, and stability within the marriage. Finally, foot binding shows that in this era women were seen as objects for they enjoyment of men. From the first concubine who bound her feet and danced for a prince to satisfy his desire, to later women who did it to be seen as sexual objects, foot binding has been a custom to gratify men’s desires, despite the pain and malformation it causes.

Find out What Mysticetes Are

Find out What Mysticetes Are The term  mysticete  refers to large whales that feed using a filtering mechanism made up of baleen plates. These whales are called mysticetes or baleen whales, and they are in the taxonomic group Mysticeti. This is one out of two major groups of whales, the other of which are the odontocetes or toothed whales. Introduction to Mysticetes Mysticetes are carnivores, but rather than feeding with teeth, they use a straining system to eat great quantities of small fish, crustaceans or plankton in one gulp. This is made possible by their baleen plates - fringed plates made of keratin that hang down from the whales palate in the upper jaw and are supported by its gums.    About Baleen Baleen plates resemble vertical blinds on the outside, but on the inside, they have a fringed edge, which is made up of thin, hair-like tubules. The hair-like tubules extend down on the inside of the whales mouth and are supported on their outside by a smooth, fingernail-like cortex. What is the purpose of this baleen? There are hundreds of baleen plates, and the fringe inside each overlaps to create a strainer that allows the whale to filter its food from the ocean water. To gather its food, the whale will gulp or skim the water, and pass the water in between the baleen plates, trapping the prey inside. By feeding this way, a mysticete can gather large quantities of prey but avoid swallowing much salt water.   Characteristics of Mysticetes The baleen is the characteristic that most defines this group of whales. But there are other things that set them apart from other whales. Mysticetes are generally large animals, and this group contains the largest species in the world - the blue whale. All mysticetes have: Baleen plates, which they use for feedingTwo blowholesSymmetrical skullLower jawbones that are solid and do not join in the middle In addition, female mysticetes are larger than males. Mysticetes vs. Odontocetes Mysticetes can be distinguished in the whale world from odontocetes. These whales have teeth, one blowhole, a skull that is asymmetrical and a melon, which is used in echolocation.   Odontocetes also have more variability in size. Rather than all being large or small, they range in size from under three feet to over 50 feet.   Mysticete Species There are 14 currently recognized species of mysticetes, according to the Society for Marine Mammalogy. Blue WhaleFin WhaleSei WhaleBrydes WhaleHumpback WhaleOmuras WhaleCommon  Minke WhaleAntarctic Minke WhaleBowhead WhaleNorth Atlantic Right WhaleSouthern Right WhaleNorth Pacific Right WhalePygmy Right WhaleGray Whale Pronunciation: miss-tuh-seat References and Further Information Bannister, J.L. Baleen Whales.  In  Perrin, W.F., Wursig, B. and J.G.M. Thewissen. Encyclopedia of Marine Mammals. Academic Press.  p. 62-73.Rice, D.W. 2002. Baleen.  In  Perrin, W.F., Wursig, B. and J.G.M. Thewissen. Encyclopedia of Marine Mammals. Academic Press.  p.61-62.

Conjugating the Regular French Verb Choisir (to Choose)

Conjugating the Regular French Verb 'Choisir' ('to Choose') Choisir, to choose, pick, decide, is conjugated as a regular French  -ir  verb. Regular verbs share conjugation patterns in person, number, tense and mood. Verbs with infinitives that end in  -ir  are the second largest category of regular French verbs, after French verbs ending in  -er. Generally speaking, there are five main kinds of  verbs in French: regular  -ir, -er, -re,  stem-changing and  irregular. Once youve learned the rules of conjugation for regular verbs, you should have no problem conjugating them, and this holds true for the regular  -ir  verb  choisir. Conjugating Regular French -ir Verbs To conjugate choisir and all other regular  -ir  verbs, remove the infinitive ending (-ir)  to find the stem (also called the radical), then add the appropriate simple conjugation ending/s shown in the table below. Note that the conjugation table below does not include  the  compound tenses, which consist of  a form of the auxiliary verb  and  the past participle.  Choisir  normally requires the auxiliary verb  avoir  in  compound tenses and moods. For example:  Jai choisi deux là ©gumes verts. I picked two green vegetables.   Other Regular French -ir Verbs Here are just a few of the most common regular  -ir  verbs. Remember, they all have regular conjugations, meaning they all follow the same conjugation patterns, which are those shown in the table. Simply take off the infinitives  -ir  ending and add the appropriate conjugated ending to the stem  in each instance. abolir   to abolishagir  Ã‚  to actavertir  Ã‚  to warnbà ¢tir  Ã‚  to buildbà ©nir  Ã‚  to blesschoisir  Ã‚  to chooseà ©tablir  Ã‚  to establishà ©tourdir  Ã‚  to stun, deafen, make dizzyfinir  Ã‚  to finishgrossir  Ã‚  to gain weight, get fatguà ©rir  Ã‚  to cure, heal, recovermaigrir  Ã‚  to lose weight, get thinnourrir  Ã‚  to feed, nourishobà ©ir  Ã‚  to obeypunir  Ã‚  to punishrà ©flà ©chir  Ã‚  to reflect, thinkremplir  Ã‚  to to fillrà ©ussir   to succeedrougir  Ã‚  to blush, turn redvieillir  Ã‚  to grow old Choisir: Uses and Expressions Choisis ce que tu veux.  Ã‚  Take your pick.Choisis lun ou lautre.   Choose one or the other.Tu as choisi ton moment  ! You picked a swell time!bien / mal choisir   to choose carefully / badlyElle a choisi de rester. She decided to stay.Je nai pas choisi.  Cest arrivà © comme à §a. It wasnt my decision; it just happened.  Il a toujours choisi la solution de facilità ©. He always chose the easy way / solution. Simple Conjugations of the French Regular -ir Verb Choisir Present Future Imperfect Present participle je choisis choisirai choisissais choisissant tu choisis choisiras choisissais il choisit choisira choisissait nous choisissons choisirons choisissions vous choisissez choisirez choisissiez ils choisissent choisiront choisissaient Pass compos Auxiliary verb avoir Past participle choisi Subjunctive Conditional Pass simple Imperfect subjunctive je choisisse choisirais choisis choisisse tu choisisses choisirais choisis choisisses il choisisse choisirait choisit choist nous choisissions choisirions choismes choisissions vous choisissiez choisiriez choistes choisissiez ils choisissent choisiraient choisirent choisissent Imperative (tu) choisis (nous) choisissons (vous) choisissez

Downstream Processing of Recombinant Proteins in E.coli Essay

Downstream Processing of Recombinant Proteins in E.coli - Essay Example From this study it is clear that hence for the high recovery of the active protein molecule, solubilization and refolding parts must be of high precision. Inclusion bodies consist of polypeptides of the recombinant protein. They are the inactive secondary –like structures. Thus, the isolation and purification of the protein are simple. The activity of the unfolded protein can be brought out by using mild solubilizing conditions. This will help in the high recovery of the bioactive protein than that compared to solubility using high chaotropic agent. The following Downstream processing steps can be used for the production of the recombinant protein from the inclusion bodies The recombinant E.coli is grown in LB medium with antibiotics such as kanamycin or ampicillin or chloramphenicol based on the plasmid. The flasks are shaken at rpm around 150 -250 and the temperature is maintained at 37 degree Celsius. After the cells have reached the log phase, This study outlines that IPTG is added and further shaken for 4-6 hours. The cells are centrifuged and re-suspended in the 50 mM sodium phosphate buffer. The cells are lysed using the homogenizer or sonicator. The cell suspension is centrifuged and filtered using 0.45 Â µm polyethersulfonate membrane. Many protein-specific methods are available for the increased solubility of the recombinant proteins in E.coli. To recover the soluble proteins, strong denaturants like urea, guanidinium hydrochloride are used. The solubilization is carried out under reducing conditions. These inclusion bodies must be washed well before solubilization. Solubilizing agents such as thioredoxin are known to improve the solubility of the proteins. Gene fusion techniques are equally good for the separation of the proteins. Maltose binding protein and Glutathione-S- transferase are found to bind well with the protein and can be removed by using the affinity chromatography techniques. Refolding is performed using dilution or diafliltrat ion in buffers of low.