Global Warming Is A Problem - 1381 Words

What is global warming? Global warming is the polar bears and penguins fighting for their lives because their home is melting. Global warming is seventy-degree weather in the middle of February. Global warming is the rapid increase in tropical storms. Global warming is the California drought. Global warming is the harmful wildfires occurring in our forests (NRDC). Many people, mostly politicians, believe that global warming is a problem that doesn’t exist. Global warming is a real issue that we cannot solve unless we all work together to fix it. The results of climate change are detrimental to the way we live our lives and the animals of the planet as well. If we as a species don’t acknowledge the problem, it cannot be resolved. The first major problem produced by global warming is deforestation. Deforestation is the permanent destruction of forests in order to make land available for other uses (Live Science). Patches of land being destroyed each year are measured to b e the size of Panama (National Geographic). A lot of deforestation is caused by man themselves. Farmers cut down trees to make room for more crops and heat their homes and loggers build roads so they can get deeper and deeper into the forests. Deforestation’s biggest impact is the loss of many habitats. Seventy percent of all the animals and plants on earth reside in forests and they cannot survive without it (NG). Once the trees are cut down, the soil is exposed. Since the trees blocked most of the sun out,Show MoreRelatedGlobal Warming Is A Problem Essay1527 Words   |  7 PagesAbstract Global warming is a dilemma; it is a debatable issue between a fact and a theory, between approval and disapproval and between having advantages and disadvantages. Endless questions that have indefinite answers arise to a man’s mind when just tackling the idea of the global warming. Many people do not take in consideration the environmental issues, their main interests lie behind thinking about their personal lives and needs. Only few who think about the environment they‘re living in. IsRead MoreThe Problem Of Global Warming1131 Words   |  5 PagesOne of the biggest problems facing in today s world is global warming. It is affecting the earth from climate changes, storms becoming worse over time creating damage to peoples homes, species dying because they can’t adapt rapidly to the changes, animal s population is shrinking and new diseases being created. Thankfully through time we have developed new technology to reduce the effect of global warming. However since we have dealt with global warming for so long for many years, we have doubleRead MoreThe Problem Of Global Warming1228 Words   |  5 PagesWhat is a Social Problem? A social issue is defined as an area of conflict in a social setting that influences different people and is often out of reach of the control of an individual or local geographical authority (Weart 73). Some social problems, however, are not perceived universally as such, resulting in a difference in opinion between different groups. Other social issues are universally recognized as justifiable and, therefore, are addressed by everyone. Global warming is a social issueRead MoreThe Problem Of Global Warming1311 Words   |  6 Pagesknow is inhabitable is now being destroyed by man. As humanity has revolutionized we have created many problems along the way. The main problem we are facing right now is called global warming. We have damaged many ecosystems trying to better ourselves, and we have not yet once thought about the damage we are inflicting on our mother earth. We are already beginning to see the effects of global warming. It will make little changes that will have a huge imp act, and devastate many ecosystems and everythingRead MoreThe Problem Of Global Warming1430 Words   |  6 PagesGlobal Warming in the United Stated Global warming is no longer just a prediction it is actually happening. It is undisputed that the average temperature at the surface of Earth has increased over the past century by 1 degree Fahrenheit, with both the air and the oceans warming. Since 1880, when people in many locations first began to keep temperature records, the 25 warmest years have all occurred within the last 28 years. The problem is that if we keep on hurting our own environment and ecosystemsRead MoreThe Problem Of Global Warming1443 Words   |  6 Pagesstruggle such as the Syrian war. One reason why Syrians are engaged in a war is that they are experiencing extreme heat and drought which causes them to be more rebellious and aggressive. The underlying cause of these trouble can be due to global warming. Global warming occurs when carbon dioxide and other greenhouse gases trap heat in Earth’s atmosphere because some of the sun’s ray cannot escape. It is a worldwide phenomenon that impacts each a nd every one of us because it cause irregular climate patternsRead MoreThe Problem Of Global Warming1088 Words   |  5 Pagesthe story in the movie The Age of Stupid, in which a man lives in the devastated future world of 2055. The man looks back to today’s date and asks himself why we did not stop the climate change when we had the chance. However, today global warming is out of control, global temperatures are steadily rising. â€Å"The primary cause, a consensus of scientists has said, is the rising emissions of greenhouse gases like carbon dioxide and methane† (Stone, 2013). The CO2 stays in the atmosphere for 50 to 100 yearsRead MoreGlobal Warming Is A Problem1654 Words   |  7 Pagesthis reason is global warming. Global warming is a problem that some people choose to ignore. They claim it does not exist. Global warming is real. It is time for people to stop ignoring it and start searching for a solution. Although many people do not believe in global warming, blaming the climate change on the sun, global warming is a serious danger to the Earth because it could have serious effects on the plant and animal populations. To fully grasp the effects of global warming, one must firstRead MoreGlobal Warming Is A Global Problem1418 Words   |  6 PagesThe reason why, I decided to focus on global warming is because it doesn’t just affect one person it affects everyone as a national crisis. Numerous individuals don’t believe in global warming, but to scientist this is a big dilemma. In the article, â€Å"closer looks at climate change, it’s specified that these issues are not new, they have been around forever† (Schmidt, 2010). â€Å"In the article the real case against activist global warming, has gotten the response of the president of the United States†Read MoreThe Problem Of Global Warming1300 Words   |  6 Pageshelp of society. One of the problems is global warming. Global warming is only possible by having excess of carbon dioxide in our atmosphere. So where is the excess carbon dioxide coming from? Have you ever spray a can of hair spray well that hair spray contains carbon dioxide, but just one person doesn’t make a difference now think about a whole world who uses it each time you spray, carbon dioxide is released in the world, yet this is not the real threat of global warming. The real main threat is

Construction Workers Have The Twelfth Uppermost Dangerous...

According to a poll taken by Time Magazine (2016), construction workers have the twelfth uppermost dangerous jobs in America. (Johnson, 2016). Construction workers come to their job, with the assumption that they are safe and can perform their job with ease. They do not anticipate getting hurt on the job, but often are subject to injuries or even fatalities. The Occupational Safety and Health act states that employees have the right to a safe work environment, and must ensure that safety measures are provided for these employees. (OSHA.gov, 2016). This case in consideration concerns an injury in a construction workplace. An employee named John Schmidt was on the job using a machine powered table saw. He ended up injuring his hand as he†¦show more content†¦The machine was not properly maintained and both the employer and the employees needed regular training to use and maintain of the apparatus. The Occupational Safety and Health Act gives specific guidelines regarding proper woodworking tool maintenance in the workplace. A few of these guidelines are questionable in the case of John Schmidt. The first guideline to consider is to â€Å"train workers on machine use and allow only trained and authorized workers to operate and maintain the equipment† (Woodworking eTool, n.d.). The workers, including the shop manager and the foreman, needed regular training on the particular hand saw model. Regular training includes the proper safety procedures needed to use and maintain the machine. The manager’s responsibility is to establish that his employees know how to use a hand saw without getting injured, which did not take place. If the employee had training on a regular basis, he would also know more about how to prevent an injury using the table saw. He would not have used the machine if he knew that it was not safe and he would injure his hand. Another guideline tha t was ignored was to â€Å"frequently inspect equipment and guards† (Woodworking eTool, n.d.). The case stated that indeed there were maintenance records for the machine that was used. The maintenance records need to be

ERP Systems Implementation In Public Administration

Question: Discuss about theERP Systems Implementation in Public Administration. Answer: Introduction ERP stands for Enterprise Resource Planning, and it is a system that when adopted by a business organization, helps in the use of a system of integrated applications in management and performance of complex and expensive operations related to technology service delivery as well as human resource management. Body Objectives Behind Choosing ERP System Implementation Public administration, unlike a single business organization, is a governmental component that deals with a variety of projects meant to some parts or the whole country. Their frameworks are set by the law and statutory regulations hence they are more complex (Wallace 2010). Governments aim at improving their environments from an internal resource optimal use and allocation to a state of achieving process integration and external focus. It has to organize various systems for revenue collection, planning and budgeting and the actual distribution of resources to different sectors of the economy some of which include development projects in different parts of the country and paying the salaries of civil servants. These are much more complicated processes than for a single business organization. A private company only deals with core processes that are centralized in one area and are majorly aimed at achieving returns benefitting the owners and employees at a smaller extent. Thus, there is absolutely nothing complicated about their operations to be specific. The achievement of this goal requires an integrated system to be put in place. ERP systems are highly desired because of its association with a general increase in efficiency, improved information access, and distribution, reduction in total ownership costs as well as achievement of high levels of accountability and transparency in service delivery and resource utilization and waste minimization. This is the exact reason why public administrators would ideally want to implement ERP systems in their centers of operation. Another objective is to establish a centrally based management system that brings together and ensures coordination of the various structures and units of the government. There is dire need of creating an automatic supporting system for the compound and time demanding duties such as finance and accounting, management of human resources, and the general management of assets, inventories and worker payrolls. The ERP system is further expected to do away with a lot of documentation processes, some of which are deemed unnecessary. The documents circulation and distribution should be systemized in such a way that it caters for quick accessibility and flow of information across several target departments. Another objective, in this case, is to create a system that explicitly specifies the goals and objectives outlined in the public procurement processes, which are usually complicated and therefore, do not tolerate ambiguity. The length of the terms of the contract in procurement procedures must be spelled out appropriately to avoid having to deal with unrealistic deadlines for contracts. Another important objective of public administrators is to create a sound analysis system that factor in the various processes of the government to improve their efficiency and effectiveness. Finally, there is a need for the administrators to have a good project management plan which is crucial and can only be arrived at by the use of practical and proven methodologies. Roles and duties related to various projects have to be assigned and delegated correctly and quickly and thus offering a solid support to top management. If done, the risks of project and system failures are instantly minimized or eliminated. Critical Success Factors for ERP Implementation in Public Administration Sector Critical Success Factors (CFS) are classified into four groups namely; factors concerned with public procurement, factors associated with government processes management, factors related to project team competencies and factors connected with project management (Pollard 2009). Factors related to public procurement procedures are considered very vital since they control the extent at which the implemented ERP system functions. The requirements for these systems must be adequately defined by the contracts thus making it necessary to be applied by the IT specialists. Little or no knowledge of ERP systems has an effect on the contract deadlines and implementation dates. Sometimes very short deadlines are set for the contracts while but they should not have been that way if a good ERP system is implemented. The administration should clearly document goals and objectives of the public procurement contracts (Rosacker 2008). This makes the project an ambiguity-free operation. Their inclusion in this category of factors is in line with their vital role in determining the rate of success associated with the ERP implementation. Factors related to government processes management are thought to be the most important factors. They comprise frozen information requirements, established government procedures and process engineering (Ziemba 2013). Public administration always requires that an excellent analysis is conducted that examines the information needs and relevant government processes. These processes go hand in hand with the desire for success when ERP systems are implemented in the public administration sector. Factors related to team project competencies has to do entirely with the team members in a given project who in this case, are the specialists and technicians in the IT Company as well as the government agency. IT professionals charged with the responsibility of implementing ERP systems in any organization, particularly in public administration should be highly efficient. They should be competent enough to be able to handle the system appropriately beside being familiar with the various government processes which are to be supported by the system as well as the information which it aims to distribute (Klein 2008). The knowledge of the specialists must be able to have answers to the question related to both the general and the particular function of the system to be implemented. The teams of agents of the government enjoy the opportunity of tapping from the consultants knowledge of business analysis and information system implementation. Factors related to project management should be given consideration. They are related to problems such as inadequate support for top management which are known to negatively affect the implementation process due to the lack of clear and prompt delegation of duties. There is an urgent need to establish effective methodologies that are concerned with project management, particularly where large projects are operational. Project management if not, failure is inevitable. In this changing and developing world, there arise many changes in various sectors which call for the concept of risk and change management. Changes have to be managed properly because ERP implementation is always associated with a variety of changes bearing high risks of failure. All the people involved and benefit from the actual use of the implemented ERP system should be included in the implementation process so as to come to terms with the related changes. There has to be a good and positive communication between team members and those from various departments who ideally use the system, so as to successfully initiate the ERP system. On top of that, the success of the system can also be attributed to the monitoring and control programs put in place to keep the team members on their toes as they partner and collaborate with consultants and research centers. What Organization needs to do when Implementing ERP When ERP is being implemented in a given public administration sector, the organization is required to ensure there is full commitment and focus on the business process management. One of the main issues that arise when ERP system is implemented is the fear of change by the people to whom the system is implemented (Jansenn 2006). In most cases, it is the employees who are faced with such fears since technological advancements must always be accompanied by current training and adaptation process. Technical problems are usually well defined yet difficult to solve. Thus, they require intelligent minds, a lot of hard work, commitment, passion and dedication towards its incorporation. ERP system is an example of such technology whose implementation and operation process requires intelligence and commitment. Managers are therefore charged with the responsibility of conducting meetings with the intention of informing people involved, about new systems before they are implemented and during the actual implementation process. They have to clearly give reasons as to why the changes are brought in as well as the practical benefits associated with the successful implementation of the particular system. Employees are expected to be positive and accept that adoption of new and modern technology is the new way of running businesses hence the earlier they accept this, the faster they will get comfortable and adapt to its use. Proper integration of a new ERP system calls for massive changes especially in the working regime of the organization as well as how people go about their daily routines in the business organization. This shift is difficult and painful but if everyone involved can calm down and bear with the pain of moving on, the business firm in question will make one step ahead to achieving ultimate success. There is an urgent need for the organization to establish a system of communication and training to employees to make them acquainted with the demands of the new ERP systems. A way has to found that makes the system look friendly to the employees and not scare them. Employees, on the other hand, are required to show a significant level of cooperation with the management. They must be ready to work to their best levels to support the incoming systems. They should not feel that the old system was better than the new one. Employees should also avoid the fear of losing their jobs if they fail to adapt to change. They are expected to at least give change a try without having to criticize the management for bringing such changes. The process has to be modified to accommodate the new software which ultimately focuses on what clients need. It is understandable that it is indeed difficult to transform long-established habits especially when it alters the roles and responsibilities of various people in the organization. However, this should not be a license for managers to loosen the belt and helplessly watch as employees reject new systems which ideally would majorly benefit the employees as well as the entire business organization. ERP Implementation Strategies for Government Body Versus Private Sector There are massive differences between the ERP implemented in public administration and that in private sectors. In public administration, it backs up supporting processes which are meant to satisfy the individual and collective needs of citizens as a result of their coexistence in the society. Private businesses, on the other hand, have ERP systems that support core processes that aim at maximizing profits and returns for the business owner. The supporting processes to be backed up in public administration sectors include accounting, inventories, payroll, fixed assets and human resource management. ERP systems in public administration must be structured according to the requirements of general public governance and conform to applicable laws and standard procedures. The laws involved here are specifically about rules governing budgetary accounting, employment, wages and management of fixed assets (Khun 2010). The management of inventories in a warehouse operates on a different principle than it is in private manufacturing business organizations. To sum this up, the government sectors ERP system is geared towards to providing a return to their clients who in this case, are the citizens, even if it is not exactly what is required by the people. Again, there is no gamble here for public administrators since they have to be paid even if the system implementation fails along the way. However, the private businesses are concerned with ERP systems that yield good returns for the owners and employees. If a system fails in this case, revenue loss is spread across to managers and sometimes employees. Importance of Change Management in ERP Implementation ERP comes with changes which carry high potential risks of failure. The management must effectively control and manage the resulting changes. Any ERP implementation should have a change management team that includes business and change specialists who plan how various changes are communicated with the business. This enables the business to address problems such as employees resistance to change which may slow down the works in progress (Kwak 2009). It calls for management strategies such as proper communication of ideas to the employees and makes them see the logic and importance of change. Managers should conduct extensive training in new skills and give incentives to those who are quickly adopting the system to increase diffusion of change and adaptation ideas to all employees. It helps detect discontent among top earners who may feel threatened by the new system and are, therefore, campaigning for the old system to be used. Extended training is the key here to these employees to enable them to pick up the changes. It gives management time to use the opportunity to convince the employees that the experience they have gained so far while using the other systems is important and will quickly boost their quick learning and adaptation to the new regime (McAndrew 2005). They should also be assured that their jobs will not be terminated because of the system change. The changes associated with new ERP systems majorly affect the employees. Thus, appropriate change management helps regain the confidence of employees and motivate them to accept the changes and move on with the new routines. Conclusion ERP systems have proved beneficial and worth implementing especially in public administration sectors where the government processes are numerous and require proper analysis. It is, however, comes with many risky changes and if commitment and dedication are absent during implementation and operation, it leads to eventual failure. References Baskerville, R. L. and Myers, M. D., 2009. Fashion waves in information systems research and practice. Mis Quarterly, 647-662. Boonstra, J. (Ed.), 2008. Dynamics of organizational change and learning. John Wiley Sons. Borman, M., and Janssen, M., 2013. Reconciling two approaches to critical success factors: The case of shared services in the public sector. International Journal of Information Management, 33(2), 390-400. Esteves, J., and Bohrquez, V. W., 2007. An updated ERP systems annotated bibliography: 2001-2005. Instituto de Empresa Business School Working Paper No. WP, 07-04. Galliers, R. D., and Leidner, D. E., 2014. Strategic information management: challenges and strategies in managing information systems. Routledge. Grabski, S. V., Leech, S. A. and Schmidt, P. J., 2011. A review of ERP research: A future agenda for accounting information systems. Journal of information systems, 25(1), 37-78. Hanafizadeh, P. and Ravasan, A. Z., 2011. A McKinsey 7S model-based framework for ERP readiness assessment. International Journal of Enterprise Information Systems (IJEIS), 7(4), 23-63. Janssen, M. A., Schoon, M. L., Ke, W., and Brner, 2006. Scholarly networks on resilience, vulnerability and adaptation within the human dimensions of global environmental change. Global environmental change, 16(3), 240-252. Kuhn Jr, J. R., and Sutton, S. G., 2010. Continuous auditing in ERP system environments: The current state and future directions. Journal of Information Systems, 24(1), 91-112. Kwak, Y. H., and Anbari, F. T., 2009. Analyzing project management research: Perspectives from top management journals. International Journal of Project Management, 27(5), 435-446. Morris, J. J., 2011. The impact of enterprise resource planning (ERP) systems on the effectiveness of internal controls over financial reporting. Journal of Information Systems, 25(1), 129-157. Nour, M. A. and Mouakket, S., 2011. A classification framework of critical success factors for ERP systems implementation: A multi-stakeholder perspective. International Journal of Enterprise Information Systems (IJEIS), 7(1), 56-71. Osayawe Ehigie, B. and McAndrew, E. B., 2005. Innovation, diffusion and adoption of total quality management (TQM). Management Decision, 43(6), 925-940. Pollard, C. and Cater-Steel, A., 2009. Justifications, strategies, and critical success factors in successful ITIL implementations in US and Australian companies: an exploratory study. Information systems management, 26(2), 164-175. Rosacker, K. M., and Olson, D. L., 2008. Public sector information system critical success factors. Transforming Government: People, Process and Policy, 2(1), 60-70. Vaidya, K., Sajeev, A. S. M. and Callender, G., 2006. Critical factors that influence e-procurement implementation success in the public sector. Journal of public procurement, 6(1/2), 70. Wang, E. T., Shih, S. P., Jiang, J. J. and Klein, G., 2008. The consistency among facilitating factors and ERP implementation success: A holistic view of fit. Journal of Systems and Software, 81(9), 1609-1621. Ziemba, E., Oblak, I. and Informatyczna, B. S., 2013. Critical success factors for ERP systems implementation in public administration. Interdisciplinary Journal of Information, Knowledge, and Management, 8, 1-19.

conquest of Mexico and Peru Essay Example

conquest of Mexico and Peru Paper The Conquest of Mexico began with Hernan Cortez.Cortez after working his way up as a soldier and a writer in Santa Domingo and Cuba was given a rescue mission to the Yucatan to search for Grijalva who hadnt returned from his expedition.Cortez goes to Mexico and by interacting with neighboring Mayans he was lead to the island of sacrifices.This is how Cortez discovered the Aztecs.Once Cortez knew that there were riches and much more opportunities for himself he decided to conquer Mexico.Velasquez orders Cortez to return to Cuba, Cortez can not conquer Mexico without the kings permission.So in order to get around Velasquezs orders Cortez founds the city of Vera Cruz and sets up a council to assume royal power and allow the invasion of the Aztecs. Cortez, having such a advantage over the local tribes with his horses and guns, had no problem with the help of his translators to ally the local tribes, especially the Tlaxcalas, and get them to fight against the Aztecs.Montezuma, who hears o f Cortez and how he slaughtered many leaders after inviting them to a party, meets Cortez at a marketplace in Tlateloco.Cortez easily gains power and keeps Montezuma on house arrest.Meanwhile Velasquez is angry with Cortez for disobeying his orders and sends a crew to arrest him.However when they meet Cortez he convinces them to stay and collect the spoils of conquering Mexico.As Cortez was meeting with his new addition to his army, chaos ensued back in Mexico City where Alvarado was left in charge.The people did not agree with the banning of the human sacrifices and an uprising occurred.Montezuma tried to speak to the people but as he was trying to speak he was hit in the head with a rock and killed.Cortez managed to escape while losing all his treasure along with a few fingers as well.He organizes a counter attack at Tlaxcala with the help of some Spanish reinfo

Negative Effects of Tv on Family Life Essays

Negative Effects of Tv on Family Life Essays Negative Effects of Tv on Family Life Essay Negative Effects of Tv on Family Life Essay Negative Effects of TV The television has many effects on family life and the individual, causing family bonds to unravel and the individual to become naive of their surroundings. The TV keeps one hooked for hours on end, causing family relationships to diminish and personal relationships to weaken. Not only does the TV seem to be a good alternative to conversations and interactions amongst one another, but it also helps to create a gap between the fictional world of TV and reality. Since the invention of the home television, it has become a crucial part in everyday household life. Children spend less time with family, because it is simply easier to sit down and be entertained by the TV. †The time spent next to it [the TV] exceeds the amount of time spent together with any other family member. † (Wattermann) Watching TV has a major effect on the way a child communicates with other family members and friends, distancing them from real-world situations and problems. Parents spend long hours working and want an effective suppressant for their children. Contemporary parents work a lot, but when they come back home they are not eager to spend time with their child†¦Ã¢â‚¬  (Wattermann) Even adults fall into the attraction of taking themselves out of their childs’ life, in order to relax or gain the free time they long desire. The effect the TV has on the family has been negative in comparison to the original intention of bringing the TV into t he home, back in the 1940s. The depiction of the family watching TV together has changed, and now with multiply TVs present in a home, the separation and disfunction of the family has increased. TV also has a negative effect on the individual, because it takes away from potential relationships and also promotes bad behavior and aggressions as seen on violent television shows. What is being watched on television has the potential to influencing negative behavior, within the child or even adult. In an article from the AAP or the American Association of Pediatrics, it was noted that, â€Å"Extensive research evidence indicates that media violence can contribute to aggressive behavior, desensitization to violence, nightmares, and fear of being harmed. † (Pediatrics Vol. 108 No. ) The violence seen on TV, can lead to violent acts later on. Individuals are affected by what they see on TV and can be influenced by the suggestive nature that is described in almost every TV program. â€Å"Even in G-rated, animated movies and DVDs, violence is common† (Boyse, RN). The TV violence has an effect on people and children of all ages, and even though some programs are education al and beneficial for the development and growth of the child, there are so many other programs going on at the same time that contradict the idea of â€Å"good TV†. Television watching also has a major impact on the self-image one has of themself. The TV paints a false image of what the normal and accepted person should look like. The person watching, therefore gets sucked into the mindset that they have to be like the well-toned models seen on tv, this creates many different problems. Insecurities within the individual flourish and they are constantly bombarded with images of how they should be, in order to fit into today’s society. While watching constant images of healthy women and men makes some people immediately jump off the couch and start their â€Å"cardio routine† some sit back and envy what they simply will never have. Ironically, this leads to eating disorders and obesity. â€Å"People, who spend hours and hours in front of the TV sets, are under very high risk of becoming overweight and obese. † (API Heathline) Either way, false advertisement of the way someone should be perceived has a negative effect on the viewer. In general, the content on TV impacts who were are and who we want to become in order to fit into society. Another factor involved in television watching, is the amount and the persistence of commercials. Commercials make up a majority of television air time, trying to influence people to spend time and resources on products and new inventions that will make you better fit into society. For example, food commercials are constantly influencing people to make new recipes or to go to the newest most delicious restaurant in town. Other commercials such as the shopping channel become appealing to the older audience who are alone and constantly craving new things. This leads to hording and other disorders, including the addiction of television watching in itself. Commercials and news articles also persuade people in terms of politics, economic issues, and social influences therefore inducting the one-way nature of the viewers. If people constantly go to the TV for current updates on news and other current events then it deters the need to communicate with one another and create the social relationships needed to have a cohesive balance in life. Another problem that arises with TV is the effect it has on one psychologically. Kids spend many hours in front of the TV, especially over long periods of isolation. Some adults can argue that the constant atching of television is the beginning of a new age of addiction. â€Å"Studies about negative effects of television addiction show the TV addicts’ people through its tranquilizing numbing affect, causing them to relax, become drowsy, and then desire to watch more TV. † (Parenting-Healthy-Children) Watching TV seems to have the same effects that habit- forming narcotics have on the indi vidual. When watching hours upon hours of TV, one is quickly relaxed and put into a state of obliviousness to the outside world, therefore having similar effects of mind altering drugs. TV watching has many effects on the viewer and can lead to many social and personal problems. Family relationships, individual self- consciousness, and violent/ inappropriate subject matter all lead to the conclusion that too much television can be harmful to our society. TV is readily available to every one of all ages, and the majority of the material is geared toward a more mature audience. Over time, TV has changed dramatically from mostly family-oriented TV programs to programs geared to different age groups, in order to attract different audiences. Children and TV: The Negative Effects of Television.   Children and TV: The Negative Effects of Television. N. p. , n. d. Web. 13 Feb. 2013. Media Violence.   Media Violence. N. p. , n. d. Web. 13 Feb. 2013. Bad Effects Of Watching Too Much TV | Academic Programs International a Health Line. Academic Programs International Health Line Bad Effects Of Watching Too Much TV Comments. N. p. , n. d. Web. 13 Feb. 2013. The Negative Effe cts of Television Addiction and Computer Addiction.   The Negative Effects of TelevisionAddiction and Computer Addiction. N. p. , n. d. Web. 13 Feb. 2013.

Van Doesburg and the International Avante

Van Doesburg and the International Avante Introduction The Tate Exhibit, by assembling international works and works in many media, demonstrates, to the less enthusiastic, the exhibit designer’s message that the Avante-Garde was a legitimate and wide ranging movement, and one which reverberates in its effects even today. Styles such as Neo-Plasticism, are Elementarism are examined, but the most colorful is Dada.Advertising We will write a custom essay sample on Van Doesburg and the International Avante-Garde: Constructing a New World specifically for you for only $16.05 $11/page Learn More Dadaism elicits different responses from different viewers, from the trivial, irritating, or enraging, to the profoundly liberating, and has done so since it was launched on the world. Given its anti-establishment history, and the continuing debate over whether it is really art, its glorification at the Tate is ironic. The Tate show can help demonstrate Dada’s impact on today’s design and our definitions of art. Some examples from real life include: the teaching of art to kids, stained glass in contemporary sacred spaces, home furnishings, music teaching and making. A sampling of the styles the show features includes De Stijl, Dadaism, Elementarism, and Neo-Plasticism. The multi-national selection of artists range from the biggies such as Arp and Mondrian, and obscure ones as well, with a strong Dutch presence and funding support. The media displayed are wide ranging, and reflect the intention of the Avant-Garde’s proponents to overturn old art norms and make art and design accessible to the masses. Works are arranged such that the orthogonals and diagonals are sited at either end, and artists, crafts, and disciplines affected by the Avante-Garde are on display in between. Van Doesburg’s drawings of exploded architectural detail are missing from the exhibit. Photos of the artists enrich our understanding of the human background to the art. Merchandise in th e stores is well-displayed and offers customers a chance to wear their intellectual bona fides on their blouse. The Tate has offered a selection of lectures and other fora for viewer education. The arrangement of the exhibit helps to make the point that the Avant-Garde was more than artistic crankiness or mental disorder. Conclusion: The ongoing debate over whether the works of the Avante-Garde are really art is not by any means resolved. However, the ideas of the Avante-Garde certainly liberated the making of art to our benefit today.Advertising Looking for essay on architecture? Let's see if we can help you! Get your first paper with 15% OFF Learn More The design ideas we see around us are deeply affected by their work. The exhibit reveals the international scope of the Avante-Garde, and highlights the connections between the Avante-Garde and what we see around us on a regular basis. Van Doesburg’s legacy is worth remembering. This Section is not Par t of the Assigned Project The following is the list of questions originally posed by the instructor for consideration, not an essay. This is set up as a checklist to allow the customer to reassure themselves that all the questions have been addressed, and to facilitate communication across the language barrier with the customer. Since the topic is an art exhibit, and secondary sources are not exhaustive, many of these answers are inferences rather than based on direct personal observation, which would have been the ideal way of responding to the questions Who organized the exhibition? Vicente Toldi, Tate Director Who curated it? Gladys Fabre, independent curator Who sponsored it? Tate Patrons, Tate International Council, The Van Doesburg Exhibition Supporters Group, The Embassy of the Kingdom of the Netherlands, Dedalus Foundation, Inc, Mondriaan Foundation, Prince Bernhard Cultural Foundation (Straver Foundation), SNS Reaal Fond Who designed it? Vicente Toldi, presumably, since no other person is mentioned. Who is it intended audience? Possibly anyone who may not have thought very much about the impact of the Avante-Garde, or who is not an avid art fan is the target. What are the aims of the exhibition? Based on the artists and works chosen; the aim is to display works not often seen, to display works by lesser known artists, and to show a wide range of media that were affected by the ideas of the Avante-Garde. What is its central argument? You can see evidence of how these artists succeeded in overturning much of what went before when you look around you at design, art, and art instruction today, and see their influence. What current debates or topical issues does the exhibition engage with? Is this stuff truly ART? What underlying assumptions are communicated by the choice of exhibits and form of display? The form of display seems to assume mostly non-disabled viewers assumes that people walking on their own two feet and looking with good vision are viewin g the works. It also assumes that the viewer has not seen previously ephemera and crafts from the same period, objects which reflect similar design ideas. Is it successful in terms of fulfilling the aims of the organizers? It has been well reviewed for the most part in terms of demonstrating why lesser known names in the Avante-Garde should be studied and remembered, and documenting the enduring influence of these ideas. What if anything is excluded from its central narrative? Not sure – maybe politics, but not sure, but one reviewer mentioned the absence of certain Van Doesburg architectural drawings. How is the exhibition organized (by theme, designer, chronologically, other)? Orthogonals are sited at one end and diagonals at the other, with other materials in between that were influenced by the artistic dialogue going on at the time. How are the artifacts contextualized (i.e., through info panels, labels, graphics, catalogue, etc.)? Not sure, but there seem to be labels wi th substantial information. There are lectures and talks as well, and a workshop for a hand-on project. Is the design of the exhibition appropriate for its subject matter? It sounds like it, but not sure. Does the Tate exhibit provide an educational experience, and how does it achieve this? Lectures, talks, hands-on projects, contribute to background education. Is there a shop specifically devoted to merchandise supporting the exhibition, and how much space does it occupy in relation to the exhibits? Yes, but not sure how much space is allocated – the interactive map did not seem to specify the shop footage. What kinds of products does the shop sell, and how are they merchandised? Typical, not terribly innovative; items meet the need for items to signal the consumer’s intellectual identity, or â€Å"brand†. End of explanatory notes to customer Outline Van Doesburg and the International Avante-Garde: Constructing a New World 1. Introduction: The Tate Exhibit, by assembling international works and works in many media, demonstrates, to the less enthusiastic, the exhibit designer’s message that the Avante-Garde was wide ranging and reverberates in its effects even today. 2. Background of Dadaism as a confusing off-shoot of the Avante-Garde a. The meaning of the word b. The reaction of the contemporary gallery visitors c. How Dada was viewed at the time d. Irony of an anti-establishment movement being displayed in Tate 3. The Tate show can help demonstrate Dada’s impact on today’s design and definition of art: examples a. Teaching of art to kids b. Stained glass c. Home furnishings d. Music making 4. Sampling of styles the show includes a. De Stijl b. Dadaism c. Elementarism d. Neo-Plasticism 5. Artists included a. Many works from off-shore b. Strong Dutch representation and sponsorship support 6. Media included a. Wide range of artistic disciplines b. Reflect the intention to make art accessible even to the oppressed 7. A rrangement of works a. Orthogonals and diagonals at either end b. Artists affected by these in display in between c. Crafts and disciplines affected on display in between d. Drawings of exploded architectural detail missing from exhibit e. Photos enrich understanding of the human background to the art Conclusion The ongoing debate over whether the works of the Avante-Garde are really art is not by any means resolved. However, the ideas of the Avante-Garde certainly liberated the making of art to our benefit today. The design ideas we see around us are deeply affected by their work. The exhibit reveals the international scope of the Avante-Garde, and highlights the connections between the Avante-Garde and what we see around us on a regular basis.Advertising We will write a custom essay sample on Van Doesburg and the International Avante-Garde: Constructing a New World specifically for you for only $16.05 $11/page Learn More The current exhibit at the Tate Mo dern brings a host of objects together from a variety of artists, countries, and media, and styles that fall under the general category of the Avante-Garde (Dadaism, Neo-Plasticism, Elementarism, Constructivism, and Art Concret). This impressive assemblage demonstrates the multi-national nature of the Avante-Garde in its time of inception. The exhibit also provides ample basis for considering (even by those who do not live and die by art ) the wide ranging and long lasting impact on the lives of people today of the ideas fermenting in the first decades of the 20th century, even the chaotic and self-negating ideas of Dadaism. Dada is a word that can be understood differently, depending on one’s role, and where one is standing. To a proud papa, it is, he hopes, the first word spoken by a beloved toddler. To a current music aficionado, it is the name of a band (dada home page). As pointed out by Tristan Tzara, a poet and essayist of the early 1900’, the word also describe s the tail of a holy cow, among the  « Kru Negroes  » (an archaic and now offensive term for an indigenous tribe in what is today called Liberia ), mother and a cube in Italian dialect, and a nurse and hobby horse in Russian, as well as in his native tongue, Romanian. However, Tzara declares in his Dada Manifesto 1918,  « The magic of a word – Dada – which has brought journalists to the gates of a world unforeseen, is of no importance to us.  »(Tzara, Dada Manifesto 1918). This paradoxical statement, and so many others, is typical of the deliberately confusing, transgressive, and challenging utterances of Tzara, ne Samuel Rosenstock, a key articulator of Dadaism. To current enthusiastic visitors to museums of modern art, the name Dada is shorthand for a sidebar to the Avante-Garde, art as goofball antic, art as thumb to nose, but also, art as something that might be easily mistaken for a bin to accommodate one’s litter, or an attractively mounted fire e xtinguisher. On the other hand, to those visitors who have been dragged along by their special art fan, Dada may very well be a reason they say they think that avant-garde art is a crock. Advertising Looking for essay on architecture? Let's see if we can help you! Get your first paper with 15% OFF Learn More Why, they ask plaintively, don’t we just bring our rubbish to the museum and leave it here in a neat pile – who would know the difference? What sort, they ask angrily, of prat would pay good money for such stuff? Doesn’t our kid draw something just as good? Where is the cafà ©, they ask in desperation, and, more importantly, how soon may we leave? These public reactions are not novel, nor, if we are to believe their own writings, would they necessarily have been unwelcome to the first promoters of the Dada movement. The Dadaists were in reaction against just about everything . In return, they were regarded with less than approval by their contemporaries, and they knew it, and made fun of this phenomenon. In light of how disparaged they were by the art world in the first decades of the 1900’s, and especially in light of how deeply they criticized the art establishment, they might be turning in their graves at the thought of the large current exhibit at th e Tate Modern (running through May). Or, perhaps, the thought might tickle them, especially the application of Theo Van Doesburg’s colorful geometries to towels, totes and magnets in the gift shop . If a Dadaist were resurrected today, he might gleefully pluck a tea towel from the gift shop and display it as art, not because of the pattern, but as an object chosen by him, placed out of its usual context as an article of clothing, titled with whatever whimsical thought occurred, put on display, and therefore constituting ART. There would certainly be ample precedent! The submission, without comment, of a fountain, to an art show, an act of artistic anarchy attributed to Marcel Duchamp, is practically legendary. But back to the weary, less than excited visitor, wondering why on earth they should be learning about this stuff. (The museum is indeed offering a lecture series, even for the deaf, curators’ talks, and an opportunity to create a hands-on project to help both the confused and the rapt). Why should he/ she be interested at all? Art historians, on one end of the interest spectrum, are the converted, the choir, to whom it is unnecessary to preach. In answer to this question, they can point to direct lines of influence from the Dadaism of the 1910s and 1920s to the Neo-Dadaism of the post-World War II period, and well known and important names like Robert Rauschenberg, and Jasper Johns (Craft), and, it could be asserted, Andy Warhol. In another direction, connections can be drawn to Surrealism (Craft 4), a movement with its own flock of current artistic offspring, particularly in film, and animation. However, at the other end of the spectrum of interest and expertise, even the uninitiated among us can identify Dada’s impact in our lives. A swift peek into the chaos and happily self-defined art creations being crafted from re-cycled materials at the nearest grammar school would offer an answer to that question . Also of interest would be a tour of a suburban modern church building . Or take a walk-through of the wall and floor coverings department of a home store . Finally, check out GarageBand, a piece of software that allows kids to assemble music from a file of pre-recorded sound samples (Garageband). All these cultural phenomena seem to be influenced by the ideas of Dadaism. The show at the Tate may, in light of this, assist those who would preferentially spend at least some of their Sunday afternoons watching Manchester United rather than getting sore feet at galleries, to draw meaningful connections between Dadaism and current trends and manifestations of the arts, and design. The current Tate Modern show, taking up half of the fourth level of the museum, does not merely cover Dadaism. It also encompasses the movement that was one of Van Doesburg’s numerous other artistic life pursuits: among them, the ultimate in geometric abstraction, wherein any reference to the human body or realism of any sor t was anathema. Van Doesburg’s ideas on this and other isms of the day were expressed in his editorship of De Stijl, a magazine as well as the name of a style, and through peripatetic lectures and conferences (Mawer). He and Piet Mondrian espoused simplifying art to a series of geometric elements. Even this was subject to disagreement: the two colleagues split off into Elementarism (diagonals allowed) and the horizontal and vertical axes of Dutch Neo-Plasticism, a rarified movement (orthogonal horizontals and verticals only) of which Mondrian eventually found himself the only votary; (Darwent). The show includes many works on loan from elsewhere. This means that many pieces have never been seen in the UK, especially those by Theodore Van Doesburg. There is a largely Dutch roster of sponsors , which may have helped in the acquisition of so many Van Doesburg pieces. Alternatively, perhaps the inclusion of these rarely-seen works was a cunning appeal to Dutch chauvinism for r ecruiting support from Dutch funders. This strong representation from other collections may be the reason so many of the 350 items are not imaged digitally for later, more leisurely examination. In any case, the range of countries represented certainly highlights the message forcefully that the Avante -Garde was an international movement, with plenty of cross pollination among artistic communities. The Tate’s director, Vicente Todolà ­, has made a point of mounting several previous exhibits focusing on other features of Modernism (The Tate Modern Museum), perhaps as a means of ensuring the development of a future visitor base. If an audience is not raised up in the knowledge and appreciate of the arts, they will not support the arts. Gladys Fabre, an independent curator, has brought together works in a variety of media and genres. She has assembled the big names in Dada, De Stijl, and the Avante- Garde: Piet Mondrian, Constantin Brancusi, Jean Arp; names that even the uninf ormed might recognize. She has included, as well, less well known artists whose work was influenced, or had an influence on, De Stijl, such as Francis Picabia, Lszlà ³ Moholy-Nagy, Gerrit Rietveld, Sophie Taeuber, and Kurt Schwitters. A full range of media are represented. They include traditional painting and drawings, and sculpture. This latter is defined, as in the case of the aluminum and wood robot-like Mechanical Dancing Figure, by the less familiar Vilmos Husz, or the chunky blue vaguely android figure Construction within a Sphere, by the equally under-exposed Georges Vantongerloo, by the whimsy of Dadaism. Ms. Fabre has also included less expected examples of designs that came out of the movement such as typeface, architectural interiors (for example, the explosion of color blocks on the ceiling of the University Hall, in Amsterdam, or the rocking Aubette dance space from Strasbourg), and furniture designs (such as the sculpturally limpid but uncomfortable-appearing Gerrit Reitvald chair, and the modern-looking leather and metal chairs). There are also publications, posters (one mysterious one features the letters HELI), stained glass (such as the emblematic and endlessly copied windows for the De Lange house), music, and film (The Tate Modern Museum). This assemblage of objects from all along the spectrum from utilitarian objects to fine, arts, is reminiscent of the vertical integration of some consumer products and manufacturers (the Apple company is one example, Mattel’s Barbie range could be another) wherein products for all uses and levels of complexity are produced under one corporate umbrella and with a solitary design vision. The wealth and diversity of material demonstrates that the Avante-Garde was a thoroughgoing attempt – utilizing art and design to overturn everything that went before. Considering that in 1918 the world had just endured the soul-searing destruction of a global war, there was revolution abroad, influenza s talked the world, and women were still wearing corsets, there was plenty to complain about. The devotees of De Stijl felt that the earlier century’s efforts to portray reality in an increasingly abstracted fashion (Impressionism, Cubism, and Expressionism, for example) never quite broke free of the reality that persisted as the subject. Somehow, even the gradual uncoupling of painting and sculpture from strict realism came in for withering scorn from the Van Doesburg cabal (Tzara, Lecture on Dada, 1922, reprinted in Tristan Tzara: Biography, DADAism, and Poetry). The proponents of De Stijl wanted to bring the healing and uplifting benefits of liberated and accessible art and design to the oppressed and the deracinated (Darwent) . In our own era, entrepreneurs such as Terence Conran, and corporations such as IKEA have adopted the notion of good-design-for-all to great and profitable effect. The exhibit is arranged such that Mondrian’s orthogonal statements are at one e nd. These are largely color blocks, very familiar, unthreatening, in various sizes and proportions. They are so accustomed an idiom that one feels one has seen them before, even if the particular piece is clearly an import. Van Doesburg’s paintings in his Counter Proposal series are at the other end of the exhibit. These works, such as Simultaneous Counter-Composition, 1930, resemble Mondrians, but rotated by some 45 degrees, and sometimes disordered a bit. These paintings submit diagonals as an alternative to the grid (the â€Å"counter† proposal). They can remind the viewer of a close-up of the bathroom floor tiles, seen a bit too close for comfort during an episode of stomach upset. However, anyone who has ever installed floor coverings on the diagonal to stretch the visual space in a tiny room truly owes Van Doesburg a debt of gratitude for opening up a new direction and making the off-kilter seem like an inevitable option. These are serene paintings which add co lor and form without insisting on the viewer’s involvement, but they reward closer attention as well. The rooms in between bear testimony to the vast array of apparently unrelated design and craft specialties that De Stijl affected, and, by extension, the design ideas we see applied these days. As an example of lasting effect, the rationalized typography design that Van Doesburg innovated (letters fitting in a square, with no lower case letters), can be seen as enabling the development of machine readable typefaces today. The software called Wordle, which makes a graphic out of any block of text, highlighting words and phrases that repeat often, seems to be a direct descendant of Van Doesburg’s experiments with poster art (Feinberg). As an example of how De Stijl helped to break down boundaries between artistic disciplines, and the constraints of any one medium, the exhibit includes film clips animating Plasticist and Elementarist painting (Darwent). Simon Mawer of Th e Guardian faults the exhibit for not including drawings of collaborative architectural projects created with Cornelis van Eesteren. These sound fascinating: the drawings are exploded into three dimensions. Contemporary architects prize such drawings as the best and highest journeyman examples of their craft – it would indeed have been interesting to see how Van Doesburg handled this technique. The exhibit has been reviewed with differing responses. The impersonality of De Stijl leaves some viewers unmoved (Sooke). However, there is agreement that this is a welcome chance to see works that are not often brought together. There is also agreement that the inclusion of art and design that was influenced by ideas promulgated by Van Doesburg opens up that period to our view, and the wealth of photographs put a human face on this often austere art. The photos document the relationships that underpinned the life of these artists, especially their lovers and wives. It is interesting to learn, for example, that Nellie Van Doesburg participated in the performance art pieces that Kurt Schwitters and Van Doesburg mounted around Europe, and that Sophie Taueber was married to Jean Arp, and that they all collaborated on the design of Strasbourg’s Aubette building (Mawer). There has been an ongoing debate regarding the seriousness and validity of the Avante-Garde since it was born. The apparent simplicity and the lack of craft of some of its most famous products leave the impression that there is nothing going on artistically. This debate is not over. Viewers, especially hoi polloi are still asking whether this is really art. It is not clear that this exhibit will answer that question finally for everyone. However, the clever choices that have been made, and the co-location of works that are different in media but related in idea, help to make the point that the concepts of the Avante-Garde had an impact across Europe, and in many different fields. The specific s of the style of De Stijl (austerity, abstraction, the straight lines of the Bauhaus, on which Van Doesburg aimed to have an impact) may still not be to everyone’s taste. The merchandising of the exhibit, on the other hand, is readily accessible. An exit shop, that relatively new marketing method of extracting funds from visitor wallets, imprints the cheerful Van Doesburg diagonals on any flat, or near flat, surface (tea towels, totes, key tags, mugs, magnets, notebooks, bags), and offers books documenting the exhibit, displayed tastefully against a sober, receding, industrial gray background. This venue is supplemented by offerings in the main museum shop. In a decade when the identity of self is defined by the brands one carries or wears, perhaps toting one’s trainers and exercise kit in a Van Doesburg-emblazoned bag, or drinking one’s cocoa from a similarly decorated beaker seems a legitimate means of proclaiming one’s intellectual bent. â€Å"You should want to marry me (or hire me, or be friends with me) because I have slogged through this intellectually challenging exhibit â€Å", trumpets the merchandise. A much coveted related sales item is a set of Dadaist poetry generators: a pre-selected collection of individual words mounted on magnet backing whose arrangement ad libitum allows people to create their own Dada-style poem on their refrigerator door (Tzara, To Make A Dadist Poem, reprinted in Tristan Tzara: Biography, DADAism, and Poetry). Happily, the overturning of the 19th century insistence on an imitation of nature (which effectively excluded from the practice of art anyone who was not a good draftsperson), has spawned a whole new style of art teachers, whose young students joyously create something, anything; confident in their belief (directly attributable to Van Doesburg and his companions) that if they call it art, IT IS, by gosh, ART. Reflecting this same joyous anarchy, Catherine Craft notes that Robert Mot herwell, the essential biographer of the Avante-Garde, observed that Dada had given health and new life to painting in Europe (Craft 3-4). There is also a practical inheritance, e.g., typefaces which even a computer can read. The geographic distribution and inter-connectedness of the Avante-Garde are presented forcefully in the exhibit, and it is accessible both to the fan and the less than rapt. Van Doesburg well deserves this resurrection from oblivion. I. The catalogue of ideas, institutions, religions, and behaviors, to name a few, that Dada revolts against, is expressed here by Tristan Tzara: â€Å"The beginnings of Dada were not the beginnings of an art, but of a disgust. Disgust with the magnificence of philosophers who for 3ooo years have been explaining everything to us (what for? ), disgust with the pretensions of these artists-Gods-representatives-on-earth, disgust with passion and with real pathological wickedness where it was not worth the bother; disgust with a false form of domination and restriction *en masse*, that accentuates rather than appeases mans instinct of domination, disgust with all the catalogued categories, with the false prophets who are nothing but a front for the interests of money, pride, disease, disgust with the lieutenants of a mercantile art made to order according to a few infantile laws, disgust with the divorce of good and evil, the beautiful and the ugly (for why is it more estimable to be red rather than green, to the left rather than the right, to be large or small?). Disgust finally with the Jesuitical dialectic which can explain everything and fill peoples minds with oblique and obtuse ideas without any physiological basis or ethnic roots, all this by means of blinding artifice and ignoble charlatans promises. â€Å"(Tzara, Lecture on Dada, 1922, reprinted in Tristan Tzara: Biography, DADAism, and Poetry) (sic) II. This impatience with art as it used to be was verbalized by Tristan Tzara in the following almost l ucid quote: â€Å"We dont accept any theories. Weve had enough of the cubist and futurist academies: laboratories of formal ideas†¦ Cubism was born out of a simple manner of looking at objects: Cezanne painted a cup twenty centimetres lower than his eyes, the cubists look at it from above, others complicate its appearance by cutting a vertical section through it and soberly placing it to one side. (Im not forgetting the creators, nor the seminal reasons of unformed matter that they rendered definitive.) The futurist sees the same cup in movement, a succession of objects side by side, mischievously embellished by a few guide-lines. This doesnt stop the canvas being either a good or a bad painting destined to form an investment for intellectual capital. The new painter creates a world whose elements are also its means, a sober, definitive, irrefutable work. The new artist protests: he no longer paints (symbolic and illusionistic reproduction) but creates directly in stone, wood, iron, tin, rocks, or locomotive structures capable of being spun in all directions by the limpid wind of the momentary sensation. Every pictorial or plastic work is unnecessaryA painting is the art of making two lines, which have been geometrically observed to be parallel, meet on a canvas, before our eyes, in the reality of a world that has been transposed according to new conditions and possibilities. This world is neither specified nor defined in the work, it belongs, in its innumerable variations, to the spectator. For its creator it has neither cause nor theory. Order = disorder; ego = non?ego; affirmation = negation: the supreme radiations of an absolute art. Absolute in the purity of its cosmic and regulated chaos, eternal in that globule that is a second which has no duration, no breath, no light and no control. I appreciate an old work for its novelty. It is only contrast that links us to the past.(Tzara, Dada Does Not Mean Anything, reprinted in Tristan Tzara: Biography, DADAism, and Poetry) (sic) III. Tristan Tzara offered the following straightforward instruction, in poetic format. He could also have mentioned that choosing several different articles with different typefaces would add a certain decorative fillip to the randomly generated poem: To Make a Dadist Poem Take a newspaper. Take some scissors. Choose from this paper an article the length you want to make your poem. Cut out the article. Next carefully cut out each of the words that make up this article and put them all in a bag. Shake gently. Next take out each cutting one after the other. Copy conscientiously in the order in which they left the bag. The poem will resemble you. And there you are an infinitely original author of charming sensibility, even though unappreciated by the vulgar herd.† (Tzara, To Make A Dadist Poem, reprinted in Tristan Tzara: Biography, DADAism, and Poetry) (sic) Resources (Modern Dime Sized Coins of the World: Liberia) â€Å"I dont have to tell you that for the general public and for you, the refined public, a Dadaist is the equivalent of a leper. But that is only a manner of speaking. When these same people get close to us, they treat us with that remnant of elegance that comes from their old habit of belief in progress. At ten yards distance, hatred begins again. If you ask me why, I wont be able to tell you.† (Tzara, Lecture on Dada, 1922, reprinted in Tristan Tzara: Biography, DADAism, and Poetry) The size of gift shops has begun to rival exhibits in many museums; The Metropolitan has several and at least one off-site. This indicates just how tenuous are the traditional sources of support for museums’ operations, now seldom covered by admission sales. In an article assumed to be by Marcel Duchamp, the author defends the appropriateness for inclusion of a fountain in an art show, as follows: â€Å"He CHOSE it. He took an ordinary article of life, placed it so that its useful significance disappeared under the new title and point of view created a new thought for that object.†(Duchamp) This could be considered a summary statement of the criteria for Dadaist art. Observe how the teacher encourages the kids to call whatever they put together, whatever they create, whatever they assemble, ART. Look at the geometric stained glass which graces so many contemporary church windows; even decades after Van Doesburg and Mondrian are gone from the scene. Equally; the geometric Mondrianization of patterns is evident everywhere in home furnishings. Art is what you choose to call art; a Dada principle! It is hard not to imagine that a high fiber diet and some yoghurt, or an anti-depressant, might have soothed these anal-compulsive-seeming obsessions just as effectively. Tate Patrons, Tate International Council, The Van Doesburg Exhibition Supporters Group, The Embassy of the Kingdom of the Netherlands, Dedalus Foundation, Inc, Mondriaan Foundation, Prince Bernhard Cultural Foundation (Straver Founda tion), SNS Reaal Fond (The Tate Modern Museum). It should be noted that there was a distinct political (or sometimes anti-political) thread in the passions of the Avante-Garde, which did not always endear the movement to establishment institutions (Craft 3). Van Doesburg’s use of â€Å"solomite†, a building material made of straw, is a striking foreshadowing of the whole sustainability movement in home design today (Mawer). Bibliography Craft, Catherine. New York Dada? Looking Back After a Second World War, lecture given September 9, 2006. 2010. 10 March 2010 http://media.moma.org/audio/2006/pub_prog/spec_exhib/Dada/MOMA_RepresentingDadatalk.pdf. dada home page. 2010. 11 March 2010 http://dadatheband.com/. Darwent, Charles. Well-chosen works show how De Stijl – The Style – movement led to a revolution in European art that still resonates today: Van Doesburg the International Avant-Garde, Tate Modern, London. 2010. 11 March 2010 independent.co.uk/arts-en tertainment/art/reviews/van-doesburgthe-international-avantgarde-tate-modern-london-1891448.html. Duchamp, Marcel. Dissent and Disorder-Selected Essays on Dadaism. Harrison, C. and Wood,P. Art in Theory. Trans. Ralph Mannheim. London: Blackwell Publishing, 2002. 250-275. Feinberg, Jonathan. Wordle: Beautiful Word Clouds. 2010. 12 March 2010 wordle.net/. Garageband. 2010. 10 March 2010 apple.com/ilife/garageband/. Mawer, Simon. Theo van Doesburg: Forgotten artist of the avant garde. 23 January 2010. 11 March 2010 guardian.co.uk/artanddesign/2010/jan/23/theo-van-doesburg-avant-garde-tate. Modern Dime Sized Coins of the World: Liberia. 2010. 10 March 2010 http://dewardt.net/dimebook/Liberia.pdf. Sooke, Alastair. Tate Moderns new exhibition about the Dutch art movement De Stijl leaves Alastair Sooke feeling a little cold: Van Doesburg and the International Avant-Garde at Tate Modern, review. 11 March 2010. 11 March 2010 telegraph.co.uk/culture/culturecritics/alastairsooke/7130547/Van-Do esburg-and-the-International-Avant-Garde-at-Tate-Modern-review.html. Tzara, Tristan. Dada Does Not Mean Anything, reprinted in Tristan Tzara: Biography, DADAism, and Poetry. 2010. 11 March 2010 arthistoryarchive.com/arthistory/dada/Tristan-Tzara.html. Tzara, Tristan. Dada Manifesto 1918. Motherwell, Robert, and Arp, Jean. The Dada Painters and Poets. Trans. Ralph Mannheim. New York: Wittenborn, Schultz, 1970. 76-82. - . Lecture on Dada, 1922, reprinted in Tristan Tzara: Biography, DADAism, and Poetry. 2010. 10 March 2010 arthistoryarchive.com/arthistory/dada/Tristan-Tzara.html. - . To Make A Dadist Poem, reprinted in Tristan Tzara: Biography, DADAism, and Poetry. 2010. 11 March 2010 arthistoryarchive.com/arthistory/dada/Tristan-Tzara.html. Van Doesburg and the International Avant-Garde: About the Exhibition. 2010. 10 March 2010 tate.org.uk/modern/exhibitions/vandoesburg/default.shtm.

How sovereign nation bankruptcies differ from private company Essay

How sovereign nation bankruptcies differ from private company bankruptcies, and does a default on domestic debt differ from a default on foreign debt - Essay Example 86). Consider the way that the British defaulted on war debts to the Americans (Mead, 2002). Most of the industrialized nations have defaulted on debt. Spain defaulted thirteen times over four centuries! Indeed, â€Å"French finance minister Abbe Terray... even opined that governments should default at least once every hundred years†... (Reinhart and Rogoff, 2009, p. 87). This indicates two things about public debt. First of all: Default on public debt is nearly omnipresent. This is because the debtors in question are themselves likely to be permanent institutions, based on the logic of the European nation-state system, and are borrowing from other states, who are also permanent institutions. Yet the defaulting rate on private loans is nowhere near 100%. Second, enforcement of public debt is highly politicized and uneven. Britains war debts were excused; Germanys werent (Mead, 2002). Most private debt is treated relatively evenly: One is loaned money and one has to pay it back, no matter who one is. We can also see from this that this uneven enforcement can give countries an incentive to default that is not present in the domestic economy. It is hard to enforce across country lines. And, of course, the access to enforcement varies. If the US defaulted on a loan to China, they could use their military power to prevent enforcement. If Nigeria defaulted on a loan to the United States, the matter would be entirely different. Another difference is that, while private debt is based on an individual familys economic situations or the micro-economy of a region, public debt is often based on entire market institutions and trends ( Reinhart and Rogoff, 2009, p. 87-89). Capital inflows or growth often precede defaults, due to large amounts of debt being taken on due to the belief that â€Å"this time will be different†. Individual families or companies do not tend to behave this way. Countries do. Since 1800, public debt