If You Read Nothing Else Today, Read This Report on Paragraph about Myself

If You Read Nothing Else Today, Read This Report on Paragraph about Myself Where there's no need to be concerned about grammar errors or faulty format. The structure of private statement is much simpler. A cover letter is going to be a possiblity to explain any defects you may have. It is a useful supplement which can help make your abilities and expertise stick out. Who Else Wants to Learn About Paragraph about Myself? Well, the end result of my summer of writing wasn't a good one financially. No need to set your marks and grades in danger when you are in possession of an expert essay writing software on hand. The major question of all students who must compose a reflective or private essay is whether it's possible to produce such kind of academic paper without sounding too egotistical. If you're among the many who has difficulty writing about themselves, you sometimes take the indirect strategy. The Good, the Bad and Paragraph about Myself Even if your writing isn't u p to the standard, you may still work through a number of the techniques to reach the standards. It is preferable to get started writing as soon as you're assigned the undertaking. You can attempt to avoid making introduction very long. Many students believe that proofreading task is a time-consuming procedure, but in reality, it can help you to steer clear of grammar and spelling mistakes. Why Almost Everything You've Learned About Paragraph about Myself Is Wrong Although there isn't any rigid formula for writing a fantastic introduction but we can realize that there are many methods and guidelines we can readily adopt to generate quality effects. It is preferable to acquire professional writing assistance from the corresponding support. So the fundamental homework starts here. The internet editing services are among the methods to proofread the academic paper. Whatever They Told You About Paragraph about Myself Is Dead Wrong...And Here's Why Introductory paragraphs should n't be too long. You are able to choose any myself essay given below depending on your need and requirement. Be certain to inspect the course out so that you can write the very best personal essay possible. Writing the ideal essay may be difficult initially, but with some discipline and practice, you are definitely able to improve. When you're writing your research paper's introduction, you ought to be building it around a particular outline that supplies a general review of the paper. A variety of quotations might also get the job done. Ensure that your cover letter isn't any more than 350 words. Paragraph about Myself Explained All you need to do is follow a very simple procedure. Statements are made by them for a number of different explanations. More examples can produce the paragraph longer. Deductive Transition for Concluding Sentences Introducing a deductive transition to supply the conclusion sentence with a last tone is essential to boost the stream of your work. Writing proposal letter desires some guidelines for making the most out of it. No rule can decide the best outcome in every scenario. Start by stating your position and make propositions that you're going to be presenting on this issue available. Your Value Proposition is a huge answer. What You Don't Know About Paragraph about Myself There are occasions if we are given very short amounts of time for writing an essay and submitting it. Keep in mind, your private essay might be the truth, but it doesn't indicate you shouldn't consider it from a creative writing mindset. You can also see essay writings. You could also see writing examples. You can also see memo writings. You could also see email writings. You could also see article writings. You might also see application writings. Choosing Paragraph about Myself At best, you're telling the reader something they already know. To think of a good bit of writing, one must be craft a very good introduction as it is the very first thing a reader reads after the subject of the war essay. It is sometimes a tough attempting to think of dynamic blog posts that readers will discover interesting and useful. After reading the helpful methods and many examples, a writer may get a better comprehension of the strategies to prepare a strong personal statement. After all is said and done, most men and women believe that the body paragraphs are arguably the simplest to write. A cover letter doesn't always play a critical function in the gas and oil business, but it's required in the event the recruiting head demands for it. For instance, if it's a business proposal or asking for a sponsorship, you will need to mention certain important and essential specifics. After making a number of phone calls you need to be able to obtain the information that you demand.

Ethical Issues in the Insider Essay - 707 Words

Ethical Issues in The Insider The Insider is a 1999 movie based on real-life events that happened within an unaired 1994 episode of 60 minutes on CBS. Dr. Jeffrey Wigand, played by Russell Crowe, was the Vice President of Research and Development for the Brown and Williamson Tobacco Corporation and was not satisfied with the way that the third largest tobacco company was going. Wigand was then fired when he began to voice his personal opinion about how he did not agree with how the company was adding various chemicals to make cigarettes even more addictive then they already are. Lowell Bergman, played by Al Pacino, was the producer for 60 Minutes and comes into play when he sees how Wigand has a story to share with the world. Wigand†¦show more content†¦The second ethical dilemma is Wigand’s decision to tell his story about the Brown and Williamson Tobacco Corporation. The movie was made to show his struggle with how hard it was for Wigand to make this decision. He could not keep this kind of in formation from the public, especially after working with healthcare companies before being employed by Brown and Williamson. He felt personally obliged to tell this story because it could potentially save the lives of countless people. After he decided to do the interview, even knowing the criticism he would receive, the tobacco company then retaliated with campaigns about how awful of a person Wigand was, which then led his wife to divorce him. Wigand made the right decision, and many reasonable people would have done the same thing. There were obviously others who knew about the same information but were too scared of the consequences that Wigand unfortunately had to endure. The CBS interview, in the end, was aired to the public. The third ethical dilemma within the movie is CBS’ decision to edit the episode Bergman made to not contain the Wigand interview. This decision was shown to cause many disagreements, and it was ultimately made to not include the interview due to the then current merging of CBS and Westinghouse. Even though 60 Minutes was a show specifically made for the public to show information that people would not normally know about, CBS alsoShow MoreRelatedCloud Computing And Ethics And Code Of Professional Conduct1253 Words   |  6 Pagessignificant change and influence to the world. It also raises numerous ethical issues. This essay will discuss the ethical issues regarding Cloud computing in line with Australian Computer Society’s Code of ethics and code of professional conduct. To achieve this, this essay will first provide a brief description of Cloud Computing followed by discussion of ethical issues of this technology. Possible solutions for these issues are last presente d as the conclusion. Cloud computing is quickly evolvingRead MoreSocial Implications Of Business Ethics1601 Words   |  7 Pagesbusiness ethics. The business organisation I have chosen for this assignment is ‘Boots’. Social implications (P3) Social implication is a term used to describe the actions of a business that will have an impact on society as a whole. These could be ethical practises or unethical practises. There are many different social implications a business might have, these social implications are highlighted by the way a business will chose to operate. The different social implications a business might have areRead MoreEssay on Wall Street: Money Never Sleeps1412 Words   |  6 PagesLehman Brothers-esque Keller Zabel and is mentored by managing director Lewis Zabel. He receives a bonus of $1,450,000, before a late-night treasury meeting, which reveals that Keller Zabel is on the verge of collapse. This brings up an important ethical issue on how much bankers and traders receive in bonuses, irrelevant of the financial climate. After the collapse of several large banks during the financial crises of 2008, many are still paying their employees substantial bonuses. Many argue thatRead MoreEthical Dilemma Faced By Reliance Industries Limited 1143 Words   |  5 PagesEthical dilemma Faced By Reliance Industries Limited (RIL) Ethics is the mixture of honesty, lucidity and morality. It’s the study of business policy and practices regarding potentially controversial issues such as corporate governance, insider trading, bribery, CSR , sexual harassment, etc. Reliance industries Limited Reliance Industries Limited (RIL) is an Indian multinational company which is in Mumbai, India. The company works in 5 major segments: exploration and productionRead MoreStranger with a Camera and The House I Live In 1432 Words   |  6 PagesDocumentarians often want to get as close to their subject matter as possible. Some documentarians have an insider perspective which ignites a spark to create a piece that illuminates a specific topic or area of study. There are also documentarians that have no affiliation with said subject matter, but want to explore the topic in question. Finally, there are documentarians that have a foot in both worlds. Insider/outsider is a theory in which a documentarian can be close to a subject, but also possess characteristicsRead MoreCheese Cake Factory726 Words   |  3 PagesFactory The cheesecake Factory has an established code of ethical conduct that is needed to factor in maintaining a balance in the human aspect of ethics and the link to the business success for The Cheesecake Factory. Leaders in the upper management need to be careful about their actions, and how they address other employees and how they make important decisions to help the company. Even though the areas of the Cheesecake Factory’s code of ethical conduct is important for the success of the companyRead MoreThe Concept of Ethical Obligation Essays1309 Words   |  6 PagesThe concept of ethical obligation GEORGE Tenet and the Last Great Days of the CIA PADM 500: Modern Public Administration Identify four (4) cross-coded ethical dilemmas facing former CIA Director George Tenet and assess their impact on his leadership abilities. During George Tenet tenure as director of the Central Intelligence Agency, there were several ethical dilemmas he faced, among which most significantly were the violations of national and international human rightRead MoreSocial Engineering : Defining It, And The Impacts On Individuals And Society Essay1361 Words   |  6 Pagesbusinesses. Another common threat that is increasingly growing is insider threats. Search Security states that an insider threat is â€Å"a malicious hacker who is an employee or officer of a business [†¦ who] obtains access to the computer systems or networks of the enterprise, and then conducts activities intended to cause harm to the enterprise† (Rouse, 2016). Just like social engineering, there has been an increase in the insider threat. Insider threats can ultimately do the most damage to a company or evenRead More Corporate Code of Conduct Policy Essay1292 Words   |  6 Pagesproactive envision, the truth is that we are unable to provide f or every single situation that we’ll encounter while fulfilling our responsibilities. Very honestly, we believe that there is no Code of Conduct that could hold all the potential risks, issues and ethical dilemmas that may arise in an organization. Nevertheless, we also believe that is possible to keep our dynamic approach while polishing our guidelines with current market trends, social evolution and whereas encountering probable loopholes thatRead MoreEthical Issues in Hrm Strategy1200 Words   |  5 PagesEthical Issues in HRM Strategy Richard H. Hill Dr. Grace M. Endres July 18, 2012 Strayer University Abstract This paper concerns itself with the role of Human Resource Management and the role it plays in the development of corporate strategy. Additional, the paper addresses the issue of ethics concerning Human Resource Managers sharing information learned from a previous client with the new client. Identify the areas of overlap in the new client organization with others that you have

Priest And Chaplain The Characters Of The Chaplain, In Albert Camus T Essay Example For Students

Priest And Chaplain The Characters Of The Chaplain, In Albert Camus T Essay Priest and ChaplainThe characters of the chaplain, in Albert Camus The Outsider, and the priest, in Franz Kafkas The Trial, are quite similar, and are pivotal to the development of the novel. These characters serve essentialy to bring the question of God and religion to probe the existentialist aspects of it, in novels completely devoid of religious context.The main idea visible about these two characters is that they are both the last ones seen by the protagonists, Mearsault and K., both non-believers in the word of the lord. Whereas the chaplain in The Outsider tries to make Mearsault believe in the existence of god, the priest tries to warn and explain to K. what will happen to him.The reason the chaplain is the last one to see Mearsault is becasue its his job to let the prisioners have a final shot at redemption before they are executed. The reason that K. meets with the priest is out of advice given to him by someone, and he is the last character that he shows K. interacting with (although it might be true that K. meets and interacts with other people after the meeting, but they are neither mentioned nor visible later on). The priest doesnt try and make K. confess or anything of the sort, he is mainly there to converse with the character, his religious position is almost put to no use. The existentialist view of religion is that humans have been alienated from god, from each other, and so forth. In the novel Crime and Punishment, by Fyodor Dostoevsky, the christian idea of salvation through suffering is omnipresent throughout the novel. What is visible with The Trial and The Outsider is that they dont touch on the aspect of religion much throughout the story (The Outsider has bits and pieces of it appearing in his cross examinations but they are used more to mock than in an analitical sense). The presence of these two characters at the end of the novel serves to cover all the existentialist areas known to existemtialists (although it is doubtful whether the authors consciously attempted to make the characters present because of any existentialist rules they had to follow). The characters are required to structure the novels, beside the obvious existentialist areas. The characters are there to let the protagonists blow off some steam. In all the beaurocracy, confusion, and incompetence these two remain as the only ones that understand the predicament of the protaganists. They actually seem to understand what the protagonists are going through. The priest is more direct, yet symbolic, with K., telling him a story laden with symbolism and telling him what hes about to go through. The chaplain tries to take advantage of what he understands about Mearsault, and take control of his ideas in his final moments.

The Nuclear Power Debate Analysis Essay Example For Students

The Nuclear Power Debate Analysis Essay The Nuclear Power DebateIn 1953, nuclear energy was introduced into America as a cheap andefficient energy source, favoured in place of increasingly scarce fossil fuelswhich caused air pollution. Its initial use was welcomed by the general public,as it was hoped to lower the price of electricity, and utilise nuclear power forits potential as a resource, not a weapon. However, as people became aware ofthe long term dangers involved in storing nuclear waste, its use was criticised. Two accidents, at Three Mile Island and Chernobyl, demonstrated to the worldthe enormous risks involved in producing nuclear power. Nuclear power provides 17% of the worlds electricity but coal is themain source, making up 39%. However, fossil fuels such as coal, require greaterquantities to produce the equivalent amount of electricity produced from Uranium. We will write a custom essay on The Nuclear Power Debate Analysis specifically for you for only $16.38 $13.9/page Order now The use of nuclear power opposed to burning fossil fuels has reduced carbondioxide emissions by 2 billion tonnes per year, minimising the global warmingeffect on the atmosphere. Carbon dioxide is responsible for half of man madegases contributing to the Greenhouse Effect, and has sparked action from the UNIntergovernment Panel on Climate Change. Their consensus is a concern for theenvironment in the next century if fossil fuels continue to be used, even atpresent global levels.The Panel claims that for carbon dioxide to bestabilised to safe levels, a 50-80% reduction in all emissions would be required. The United Nations has predicted a world population growth from 5.5billion to 8.5 billion by the year 2025, meaning demand for energy will increase. Nuclear power is the only practical source, in consideration for theenvironment, cost and efficiency. Coal-fired generation of electricity wouldincrease carbon dioxide emissions, and renewable sources such as solar and hydro,are not suitable for large scale power generation. Nuclear power is not without its own implications. The process includesdisposing of radioactive waste, which poses a threat to the environment and theworld if not contained properly and temporarily disposed of with maximumsecurity. In the thesis, Nuclear power: an energy future we cant afford,by Peter Kelly from Hamilton College, he wrote,wed still have to worry about terrorists making bombs out of nuclear waste. Just five pounds of plutonium, a component of nuclear waste, is enough to make anuclear bomb. Such a bomb could topple the World Trade Centre and kill hundredsof thousands of peopleTerrorists may be able to recruit disgruntledscientistsDisposing of nuclear waste is extremely controversial, because it takesthousands of years to decompose, and the radiation remains active. Other than the environmental effects of disposing nuclear waste, thepotential of radioactive fallout from a faulty reactor is a dangerouspossibility, and the events following the accident at Chernobyl demonstrated thelong term destructiveness radiation is capable of.In 1986 at Chernobyl, anunauthorised experiment conducted with the cooling system turned off, lead tothe explosion of one of the reactors. The radioactive fallout spread throughthe atmosphere, reaching into northern Europe and Great Britain. The Sovietsclaim 31 people died directly from the accident, while deaths due to radiationare yet to be determined. Radiation sometimes causes genetic mutations in thechild whose parents were exposed to radiation. A few years ago on thetelevision program 60 Minutes, they presented a story on the after effects ofthe Chernobyl accident. They revealed horrific shots of mutated embryospreserved in jars, the most disturbing, an embryo named Cyclops, because itonly had one eye. While nuclear power is more efficient and environmentally safer in termsof global warming than fossil fuels, it has a destructive potential that cannotbe ignored. Electricity, generated from the nuclear fission of Uranium 235 orPlutonium 239 are both elements which are used in nuclear weapons. Radiationeither from waste or fall out from a reactor explosion can cause detrimentaleffects, both long and short term, to the environment and society. Precautionsmust be taken in security, disposal, and generation of nuclear power and itswaste, in order for it to be a successful resource and temporary alternative. .u457fb7796c1ee37cb9881384abc25f3e , .u457fb7796c1ee37cb9881384abc25f3e .postImageUrl , .u457fb7796c1ee37cb9881384abc25f3e .centered-text-area { min-height: 80px; position: relative; } .u457fb7796c1ee37cb9881384abc25f3e , .u457fb7796c1ee37cb9881384abc25f3e:hover , .u457fb7796c1ee37cb9881384abc25f3e:visited , .u457fb7796c1ee37cb9881384abc25f3e:active { border:0!important; } .u457fb7796c1ee37cb9881384abc25f3e .clearfix:after { content: ""; display: table; clear: both; } .u457fb7796c1ee37cb9881384abc25f3e { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u457fb7796c1ee37cb9881384abc25f3e:active , .u457fb7796c1ee37cb9881384abc25f3e:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u457fb7796c1ee37cb9881384abc25f3e .centered-text-area { width: 100%; position: relative ; } .u457fb7796c1ee37cb9881384abc25f3e .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u457fb7796c1ee37cb9881384abc25f3e .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u457fb7796c1ee37cb9881384abc25f3e .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u457fb7796c1ee37cb9881384abc25f3e:hover .ctaButton { background-color: #34495E!important; } .u457fb7796c1ee37cb9881384abc25f3e .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u457fb7796c1ee37cb9881384abc25f3e .u457fb7796c1ee37cb9881384abc25f3e-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u457fb7796c1ee37cb9881384abc25f3e:after { content: ""; display: block; clear: both; } READ: Procrastination EssayAt present, renewable energy sources are too expensive and are not suitable forlarge scale power generation. However, advancing technology may improve oncurrent systems, making them more efficient and suitable for major electricitygeneration. Peter Kelly concluded his thesis, nuclear power should be seenas a way to tide us over to an age of conservation and renewables. Barring anunexpected breakthrough in fusion, the age of nuclear power will end in theforeseeable future. BIBLIOGRAPHY1. Microsoft Encarta 95 Microsoft Corporation 1994-952. Nuclear power: an energy future we cant afford Peter Kelly3. World Energy Needs and Nuclear Power Nuclear Issues Briefing Paper 11 UnknownScience

Free Essays on When Your Hero Falls

When Your Hero Falls The year was 1998 when it finally all fell apart, although the chain of events leading up to such a dramatic event in my life was set on course years prior. The location was a common, quiet small town. A young boy had lived in this current location all of his life, and it was all he knew. This was soon about to change... Born and raised life outside this town was not known. As a young child my life probaly resembled the childhood of many other children my age. I was the first of three children. I had two loving parents. My family was complete. Some of my fondest memories occured in this period of my life. I remmember them so vividly that each days it seems like the occured the day before. Christmas, for example, was one of these mundane events. At the young age of five I became estatic once the holiday season rolled around. Each year I looked forward to our family traditions. We would cruise around town and look for houses with Christmas lights. The houses with numerous amounts of sparkling lights were a special find. We would pull over and just gaze at them. I could sit on the side of the road all night and look at the lights. After the hunting for lights we would go home and set out milk and cookies for Santa. An early bedtime was required to ensure Santa would be generous with his presents. The following morning I would be the first one up at 5 o'clock. I would wake up the entire family. We would go out and sit in front of the tree. I remmember the look on my fathers face. The look of happiness; the look of pure joy. As the pile of presents went down his smile seemed to grow bigger and bigger. The best gift he ever gave me was my first baseball glove. I will never forget that. I had to wait till spring to coem around so we coudl go out and play catch. I would wait all day for my father... Free Essays on When Your Hero Falls Free Essays on When Your Hero Falls When Your Hero Falls The year was 1998 when it finally all fell apart, although the chain of events leading up to such a dramatic event in my life was set on course years prior. The location was a common, quiet small town. A young boy had lived in this current location all of his life, and it was all he knew. This was soon about to change... Born and raised life outside this town was not known. As a young child my life probaly resembled the childhood of many other children my age. I was the first of three children. I had two loving parents. My family was complete. Some of my fondest memories occured in this period of my life. I remmember them so vividly that each days it seems like the occured the day before. Christmas, for example, was one of these mundane events. At the young age of five I became estatic once the holiday season rolled around. Each year I looked forward to our family traditions. We would cruise around town and look for houses with Christmas lights. The houses with numerous amounts of sparkling lights were a special find. We would pull over and just gaze at them. I could sit on the side of the road all night and look at the lights. After the hunting for lights we would go home and set out milk and cookies for Santa. An early bedtime was required to ensure Santa would be generous with his presents. The following morning I would be the first one up at 5 o'clock. I would wake up the entire family. We would go out and sit in front of the tree. I remmember the look on my fathers face. The look of happiness; the look of pure joy. As the pile of presents went down his smile seemed to grow bigger and bigger. The best gift he ever gave me was my first baseball glove. I will never forget that. I had to wait till spring to coem around so we coudl go out and play catch. I would wait all day for my father...

Thing to Consider When Planting A Norway Maple

Thing to Consider When Planting A Norway Maple Norway maple (Acer platanoides) was introduced by botanist John Bartram of Philadelphia from England to the U.S. in 1756. It has been planted on farms and in towns for its shade, hardiness, and adaptability to adverse conditions, which has ensured that the maple, when planted, would spread like wildfire. Because of this, and a variety of other negative factors, the Norway maple has earned itself the title of a Bad Tree, meaning its destruction is often sought out by city governments and concerned landscapers fearing that the large canopy of leaves this particular maple yields will block all other growth underneath it. However, there is a number of redeeming qualities to this type of trees such as its tolerance to multiple types of soil nutrients and climate conditions, its optimal fall foliage, and beautiful yellow flowers in the spring. Why Norway Maples Are Bad Trees The shallow, fibrous root system and dense shade of Norway maple make it virtually impossible for grass to grow under the tree, and the aggressive roots frequently girdle even the parent tree, ultimately choking itself to death, making it a bad tree if youre planning on growing anything else around it. Further, Norway maples are also non-native invasive exotic trees that have escaped the urban environment and is a threat to native maples because of its sun-blocking foliage. Norway maple populations overwhelm sites by displacing native trees, shrubs, and herbaceous understory plants, and once established, creating a canopy of dense shade that prevents regeneration of native seedlings; it is also thought to release root toxins that inhibit or prevent the growth of other plants. Norway maples also reproduce quickly, forming dense root systems in a matter of seasons that are nearly impossible to fully remove without killing the surrounding soil entirely. However, this isnt to say there are no redeeming qualities for this type of tree. Redeeming Features Norway maples are arguably among the most beautiful variety of maple tree currently in North America with rich yellow leaves in the fall under optimal conditions and lovely yellow flowers on leafless branches in the spring. These trees are also highly resistant to climate conditions and lack of nutrition in the soil and can grow almost anywhere as a result, which makes them great for planting on land that usually cannot support much greenery. Also, due to their nature of spreading rapidly, harvesting new trees for distribution is surprisingly easy- just replant one of its many roots and a new tree will begin growing in no time. Plus, Norway maples grow rather quickly and provide lots of shade, so they can be used to generate a quick, natural privacy fence for your property.

Money, Freedom, desire Essay Example | Topics and Well Written Essays - 1750 words

Money, Freedom, desire - Essay Example The core of the modern world in regard to all of these aspects of life is money. Money provides the means through which humans socialize, fuel their physical needs, and exist within a framework conducive for learning. While freedom is a concept that human beings like to throw around through frameworks that suggest independence, the truth is that freedom does not exist as dependency on a variety of concepts must be initialized and maintained in order to survive. Georg Simmel, in his work The Philosophy of Money, discusses the concepts of freedom as it relates to interdependency in the modern context. The need for money becomes a central dependency from which all other dependencies are built. His discussion includes the contrast of modern man to primitive man, the focus being on the types of dependencies that primitive man in comparison to modern man. Primitive cultures had limited numbers of people through which they created their existence. A tribe may have 30 or 40 people, or maybe even more, but the number of people required to survive was a limited grouping. In this modern age, man requires the people who support the business for which they work, the patrons of that business, the grocery store system, the fuel system for vehicles, and so many large groups of people through whom needs are fulfilled that solitary freedom is near impossible to achieve. If these services were to break down, modern man would be at a loss to find a way to perpetuate his existence. The social lubricant that allows all of these systems to operate is money. Money is the currency that creates value exchange within these systems. The economic system is designed so that in exchange for work, rather than goods and services, money is given so that it can be exchanged for goods and services. It is the intermediary through which interactions and dependencies are created. The novel Madame Bovary: A Study of Provincial Life, Gustave Flaubert examines the many ‘needs’ that live wi thin human existence. The first interdependency is shown through the social climbing that is done by Charles Bovary through his marriage to his first wife, then through his second wife Emma who turns towards desire and drama when her emotional needs are not fulfilled through a conventional life. Emma has fulfilled her basic needs and comforts, her needs for food and shelter beyond her worries. She is restless and feels that she is confined by the structures that have provided these basic needs. Her thoughts of freedom turn outside of her marriage, leading her to seek adventures of desire in order to feel that need to be free. She thinks â€Å"They ran back again to embrace once more, and then she promised him to find soon, by no matter what means, a regular opportunity for seeing each other in freedom at least once a week† (Flaubert and Ranous 270). In her conventional life, she was bound by its responsibilities and lack of emotional engagement, but through her indiscretions, she found moments of freedom. Through her desire to accumulate, to accumulate lovers, possessions, and luxuries, she fulfilled her need for freedom by creating surrogates for the emptiness that her normative life presented her. Mariama Ba discusses a similar theme in her work on marriage in Western Africa and the implications of a misogynist society

Philosophy theory Essay Example | Topics and Well Written Essays - 1000 words

Philosophy theory - Essay Example The concept of absurd has a rather weighty importance in the work of Kierkegaard. Kierkegaard considers the theory of absurd in several of his works, but it occupies a special role in his work Fear and Trembling. Here, speaking from a position of criticism of Christianity, Kierkegaard considers the biblical story when Abraham was asked by God to sacrifice his son to Him. For Kierkegaard, this is an example of the absurdity of human existence, based on lack of freedom. Kierkegaard sees the faith of Abraham as a paradox as it is able to convert a murder into the sacred and charitable act. Kierkegaard, however, does not diminish the importance of faith. On the contrary, he emphasized that faith is transcendent and therefore is absurd. Faith in God is absurd because it cannot be explained by means of logic, however, it is effective by giving people the spiritual strength. Thus, the absurd is an inability to logically comprehend faith in God, while it is able to provide moral support. Feuerbach demonstrates a critical attitude to religion, because he is convinced that it is the result of the alienation of human qualities such as kindness, compassion, etc. Religion arose when people began to ascribe to God the qualities that belong to the people. The philosopher believes that a man is in himself a divine being, and it is a man (not the transcendent God) who should be deified. Thus, in the concept of Feuerbach, a divine being is a human being who deserves to be erected on a pedestal of God. People should treat each other as if each of them is God. Thus, the interaction between people should be based on the principles of equality, justice, and mutual aid. In this respect, love also plays a particularly important role as a force that unites people. In his works, Nietzsche provided a strict demarcation between the weak and strong cultures, each of which

Visit to Hill Station Essay Example for Free

Visit to Hill Station Essay Our school was closed for summer vacations on 18th May. It was very hot in Delhi. My parents decided to go to Niligiris. I too accompanied them. We packed our luggage and got ready for the journey. We went to Coimbatore by train. The railway journey was rather tiresome. From Coimbatore we went to Ooty by bus. We reached there in the afternoon and put up at a hotel. Ooty is one of the best hill-station of India. It may be called the queen of hill-station. It has many beauty spots. Next day, after breakfast, we were crowded with tourists form different parts of the country. People were making all sorts of purchases. After lunch we went to botanical gardens. We enjoyed the expense of horticultural beauty around our heart’s content. Niligiris has a healthy climate. It is a beautiful summer resort. The mountain slopes are covered with tall, green trees which present a caring sight at sunset and look very grand. The morning and evening hours are very pleasant. A cool breeze sets up and refreshes the mind. It makes one forget the oppressive heat of the plains. I felt happy in the company of nature. The bright hued flowers, the clouds sailing across the sky and the snow covered peaks of the high mountains in the distance filled my heart with joy. We stayed there for fortnight. I returned to Delhii reluctantly. The memory of my visit to Niligiris is still fresh in my mind.

The Tv Generation :: essays research papers

The TV Generation Everyone has a moment in history which belongs particularly to him. It is the moment when his emotions achieve their most powerful sway over him, and afterward when you say to this person "the world today" or "life" or "reality" he will assume that you mean this moment, even if it is fifty years in the past. My generation is greatly influenced by the media, specifically television. Television becomes my reality by bringing into my life the happenings of the outside world. Our generation is often called the MTV generation. We are often stereotyped with the idea that all we do is sit around and watch TV. Sure, we probably do watch more television than our parents did as teenagers but we have to remember, TV was generally new to their generation. They only had a couple of channels to choose from while we sit in front of a television with 53 channels and a remote to control them with. We have the option to decide upon everything from The Disney Channel to VH1, The Family Channel to Fox. That box in our bedroom or family room is a very controlling yet entertaining appliance. Teenagers have always been free-spirited in any generation. We are always doing and saying childish things while trying to grow up. If we only have a couple years of our childhood left then who cares if we spend it in front of a TV? Which is not to say that we do that anyhow. Perhaps we use the TV as a way of relaxing before we go off and hit the books for two hours. Or maybe we use it to spend time with our family. I mean, come on, how many teenagers enjoy going on family outings with mom, dad, and kid brother? However, if the TV can gather everyone together on a Sunday afternoon to watch the "Packers" game then shouldn't mom and dad be happy? On the other hand, there is such a thing as bad TV. Sex and violence is plastered all over our brains with a flick of a switch and I tend to believe that this influences teenagers, or for that matter, anyone who watches it. But then again, we can not say all TV is evil. MTV has set up several programs to educate teens on sensitive subjects and has begun to censor certain videos and shows. Parents often say to their teens, "If you watch too much TV you'll fry you brains out." Yeah, right mom! As if we're going to believe that.

Human Chip Implants Essay

It is now possible to track humans wherever they are, thanks to the new technology of human chip implants. While this statement may sound interesting for the developers of the technology, the issue has attracted enormous debate about the ethical implications that surround the application of the technology. Human chip implants are sophisticated silicon microchip devices that are inserted to an individual’s hand or face for identification purposes (Alam, 2010). Prior to human applications, the microchip devices were used to identify and track lost and stolen pets. The first human to accept the device be implanted into his body was Professor Kevin Warwick on August 24th, 1998 (Witt, 1999). Warwick, a director of cybernetics at the University of Reading, U. K became the first person to host the controversial microchip after a procedure which took 20 minutes. Dr (Witt, 1999). George Boulos led a team of doctors who inserted a glass capsule the size of a pearl into Warwick’s left arm just above his elbow. The glass capsule comprised of several microprocessors work to recognize the human and give commands and communicate with other electronic devices (Witt, 1999). The device that was implanted into Warwick’s arm was about (23 X 3) mm and it stayed in his body for only nine days in order to avoid medical complications (Witt, 1999). In addition, the device had been found to have lost some power to function and the removal of it was to ensue. Half of the device was an electric coil while the rest of it was purely an arrangement of silicon microchips that processed and stored the information (Witt, 1999). The device could use only 8 bits of the total 64 bits of information to interact and communicated efficiently with the intelligent building at the University of Reading. The device functions to pass radio signals between the door frames that have rigged up doorways (Witt, 1999). When a human with the device implanted into his body enters or gets through the doorways, the radio signal energizes the coil which then produces an electric current that chips use to communicate signals which the computer recognizes a person as ‘authorized. ’ After this intelligent authentication, the door opens and the person can enter the building. For the nine days after implantation, Warwick was able to make security doors that required only smartcards to swing open through an electronic node system that tracked Warwick’s movement through the entire building (Witt, 1999). The technology of human implants claims several applications such as the identifications of lost children as well as the confused individuals suffering from Alzheimer disease (Mcgee & Maquire, 1999). It is also proposed that the technology can have potential uses in the verifications of job applicants to determine whether they are criminals or illegal immigrants (Alam, 2010). The devices can carry criminal and medical history after encoding the device only with one number (Alam, 2010). This shows how the device can be used for tracking among many different uses. The device can be used to gain access to facilities in a secure manner reducing the cases of theft and unauthorized access to buildings, libraries, laboratories or other places where security is of high relevance (Alam, 2010). There are human rights that are infringed when the human microchips are implanted. For example, the human chip implant would impinge the constitutional rights in relation to the Fourth and Fifth Amendments (Alam, 2010). The device is also argued to be violating the Fourteen Amendments which provides for the rights of properties. All persons are protected from unreasonable seizures and searches according to the Fourth Amendment and one of these searches is the electronic surveillance which reveals the privacy of persons without their consent (Macgee & Maquire, 1999). Two implications about human rights abuse are made in the use of the human microchip implant; the attachment of the surveillance device on humans and the continued monitoring of the person once the device is in the body. The ability of the microchip implanted into the body to read-write and track predisposes individual personal information to be revealed (Alam, 2010). Even if the read-only devices are used, they can be easily be scanned by the police and unauthorized searches violates the Fourth Amendments. At the same time, the use of microchip implants would violate the Fifth Amendment since the application of the microchip could be one form of self-incrimination where the device presents some tracking capabilities which breach the Fifth Amendment which provides that no citizen shall be forced to witness against himself (Macgee & Maquire, 1999). Although the Amendments refer specifically to verbal self-incrimination, it has been argued that the Amendment applies to modern technologies which forcibly take the evidence from someone. Another violation of the implantation of microchips involves the internal property interest (Alam, 2010). The chip installation involves the breaking into the skin and implanting the device just the similar ways a pacemaker or an artificial eye. In the case of eye and pacemaker implants, the procedure is acceptable for medical reasons. Contrary, in the case of human chip implants where the aim of the gadget is for the accounting system as well as to act as a repository for government information. In general, the human chip implants pose a number of ethical and legal issues despite their potential applications in ensuring security and tracking lost and kidnapped individuals. It is important to enact appropriate legislations that will prevent any grievous intrusion into individual privacy as the technology gets a big vote among Americans.

Business And Management Personal Statement Essay

Creativity is what drove me to pursue in Business and Management at University of Westminster. Business has always fascinated me. During my time growing up, I have seen the global economy change rapidly. The European Union has faced many atrocious crisis, making Europe unstable. As a result to prevent the instability, small businesses created jobs to improve the European Union’s economy, and one day I want my business to be a part of that improvement. I came across a quote from Henry Ford, the founder of Ford Motor Company which stated â€Å"A business that makes nothing but money is poor business† Ford Motor Company is a hugely successful company which all probably started with creativity and ambition to actually create something that fulfils peoples need. This further encouraged me to produce a few ideas of my own. Two ideas in particular have stood out to me; firstly: Expand my current company. When I was in my last year in High school, I started my first youth enterprise with my classmate. We noticed that there was a huge request for thin jewelleries among young women. So we created a business plan and named our business Tropical Jewellery UF. Our company took great success and received a lot of positive response. My next idea for this company is to expand it internationally. I still want to develop the business and be as creative as I can, since I have put my whole in this idea. Secondly I have studied a lot about the global poverty. My main idea is to increase the education equivalent in countries who suffers from poverty by creating schools in these affecting areas. I know in particular that I will be facing difficulty whilst establishing the idea, however I will be fighting this struggle in order to create education. Through studying three different math courses, I have gained the ability to interpret data and successfully solve the task and draw conclusion from it. Beside studying math, I have also studied three business courses, marketing and a lot of other courses. I am a very well rounded person with skills and knowledge in many fields. I believe this is an important feature of a business person as they need to be able to deal with many different varieties of challenges. In and out of school I have a big interest in languages. I speak fluent Arabic and of course Swedish. I have studied Spanish for seven years, and I can almost speak it fluently. During my last year in school I studied a French course. I spent two weeks of my summer in  France. I continued to develop my French skills in Paris. During my third year, I studied Cambridge Advanced English and did the exam and got a certificate at the beginning of the summer. A business degree is exceptionally various and can lead to many opportu nities. At present I have recently entered the business world and I am already eager to learn more.

Nike Considered Index TNS Review Final Essays

Nike Considered Index TNS Review Final Essays Nike Considered Index TNS Review Final Paper Nike Considered Index TNS Review Final Paper We refer to different aspects of the Index in this review, so a ascription of the approach and its parts is provided. We then give an overall assessment, followed by technical examination of different parts of the Index and commentary on its public release. 1) Insight into the environmental impacts of materials used in product creation (material scores). 2) Incentives for Nikkei to make more sustainable products, in line with the companys priorities and goals (product scores). 3) Communication of the performance results using Nines internal standards (Considered benchmarks e. . Gold standard). 4) Company targets for continual improvement (stretch goals for eating com panky-wide benchmarks of product performance by a given year e. G. All footwear to be Considered Bronze by 2011). The two main tools that make up the approach are: Assessment Method Backdating from Success The assessment has been conducted using both the sustainability principles and backdating p lanning method of the unifying Framework for Strategic Sustainable Development, promoted by The Natural Step in collaboration with its international research and practitioner networks. Four science-based sustainability principles from the framework describe success in terms of the conditions added for a sustainable society, providing an operational definition of sustainability that allows for a gap analysis between where we are today and where we need to arrive at in the future. From this whole systems perspective, it needs to be clearly stated that there is no such thing as a sustainable or an unsustainable material or product; there are only sustainable material and resource management practices. Product and material sustainability claims therefore need to be viewed carefully, and as part of a journey toward sustainability one that has many possible pathways. Material Assessment Tool (MAT). This tool scores and ranks the material types used to manufacture Nikkei products from least to most preferred. The scoring is based on: Major, known supply chain environmental issues within defined impact categories. A life cycle perspective, from cradle to gate. Publicly available data that is compiled and aggregated for general material types and typical supply chain scenarios. Third party input from specialists in materials environmental impact assessment methods. Weightings are assigned to impact categories, based on Nikkei priorities. 2. Understanding purpose and Context for the Index All tools serve a purpose. They need to be examined with their purpose in mind, and understood within the context in which they are used. To judge if this Index is a good tool for supporting Nines movement toward sustainability, Nines overall approach to sustainability must be understood: The Index has been developed to aid design and material choices as part of Nines Considered design ethos, which is part of an overall company sustainability agenda. Nikkei has long-standing commitments to sustainability in place. ; The tool is integrated into Nines innovation process. Dedicated personnel support the tools development and integration across the organization. The Index connects with, draws from and supports many other aspects of Nines sustainable business and innovation agenda (for example, procurement sustainability and audit programs, restricted substances lists, company targets and policies etc). The Considered Index. The Index rewards design innovation choices related to product creation by assigning scores to products. It encourages the selection of environmentally preferred materials (as scored in the Material Assessment Tool) as well as other practices where the designer can improve the environmental profile of the product, I. . Less waste generation, use of desired chemistry and an innovation bonus for breakthroughs that can be transferred across models. Nikkei uses these tools in a number of ways for example, aiding procurement decisions, setting of internal standards and more broadly for defining sustainable design performance. Nikkei has chosen to externally label Silver and Gold standard products, sending a signal to the consumer about Nines Considered design ethos. 2 Overall Assessment Using Sustainability as a Driver of Innovation Many traditional tools and approaches for measuring product or eternal sustainability take a static perspective, attempting to measure and assess the scale and severity of known issues and impacts today (primarily a risk avoidance approach). On their own these life cycle assessment approaches have limitations in terms of guiding strategic decision-making toward 1) sustainable resource management and 2) related business opportunities. Just as an analysis of any single move or piece of sports gear used in a football game cannot tell you who will win, one needs to look at the whole picture. Organizations wishing to use the Index and build from Nines experience should bear this in mind and ensure they build the necessary competencies and structures in place to make the best use of the results from the Index. It is therefore refreshing to see the approach Nikkei has taken combining quantitative material assessment with qualitatively- derived scores rewarding improvements in product creation. This approach highlights an evolution in thinking on measuring sustainability away from solely impact minimization and movement toward an innovation enabling strategic perspective. We believe this Index is a powerful demonstration of an overall backdating approach for enabling sustainable design innovation, not simply a set of tools for measuring movement away from environmental impacts.

Definition and Examples of Euphemistic Language

Definition and Examples of Euphemistic Language Euphemism is the substitution of an inoffensive expression (such as passed away) for one considered offensively explicit (died or dropped dead). Contrast with dysphemism. Adjective: euphemistic. In his Oxford Dictionary of Euphemisms (2007), R.W. Holder notes that in speech or writing we use euphemism for dealing with taboo or sensitive subjects. It is therefore the language of evasion, hypocrisy, prudery, and deceit. According to Ruth Wajnryb, Euphemisms have a short shelf life- once the stigma of the original catches up to them, the battery that runs the euphemistic device goes flat. The only way forward is to invent a new euphemism (Expletive Deleted: A Good Look at Bad Language, 2005). Etymology: From the Greek, use of good words Commentary Examples:  Pre-owned for used or second-hand; enhanced interrogation for torture; industrial action for strike; misspoke for lie; tactical withdrawal for retreat; revenue augmentation for raising taxes; wind for belch or fart; convenience fee for surcharge; courtesy reminder for bill; unlawful combatant for prisoner of warUnfortunately for the CIA, enhanced interrogation turned out to be a translation of the same euphemism used by the Gestapo: verschrfte Vernehmung. (Scott Horton, Company Men. Harpers, April 2015 Dan Foreman: Guys, I feel very terrible about what Im about to say. But Im afraid youre both being let go.Lou: Let go? What does that mean?Dan Foreman: It means youre being fired, Louie. (In Good Company, 2004 Mr. Prince: Well see you when you get back from image enhancement camp.Martin Prince: Spare me your euphemisms! Its fat camp, for Daddys chubby little secret. (Kamp Krusty, The Simpsons, 1992) Paul Kersey: Youve got a prime figure. You really have, you know.Joanna Ke rsey: Thats a euphemism for fat. (Death Wish, 1974) The reconstruction of New Orleans has become a euphemism for the destruction of the citys cultural and historic heritage. (Ghali Hassan, 2006The more syllables a euphemism has, the further divorced from reality it is. (George CarlinWardrobe malfunction. (Justin Timberlakes description of his tearing of Janet Jacksons costume during a half-time performance at Super Bowl XXXVIII)Americans continually euphemize; they can never call anything by its name. You never invade anybody, you commit an incursion. (Gore Vidal, quoted in the Transatlantic Review, Spring 1975) Dont Panic The economic classification  recession was actually invented in 1937 when the economy was back in the toilet but FDR didnt want to call it a depression. And the description depression first surfaced during the Hoover administration, a substitute for a more vivid but disconcerting term of art: panic.(Anna Quindlen, Summertime Blues. Newsweek, July 7/14, 2008) Testing for Euphemisms In selecting euphemistic words and phrases I have accepted [Henry] Fowlers definition: Euphemism means the use of a mild or vague or periphrastic expression as a substitute for blunt precision or disagreeable use (Modern English Usage, 1957). A second test is that the euphemistic word or phrase once meant, or prima facie still means, something else. If that were not so, it would be no more than a synonym. (R.W. Holder, Oxford Dictionary of Euphemisms. Oxford University Press, 2007) Steven Pinker and Joseph Wood Krutch on the Euphemism Treadmill - Linguists are familiar with the phenomenon, which may be called the euphemism treadmill. People invent new words for emotionally charged referents, but soon the euphemism becomes tainted by association, and a new word must be found, which soon acquires its own connotations, and so on. Water closet becomes toilet (originally a term for any kind of body care, as in toilet kit and toilet water), which becomes bathroom, which becomes restroom, which becomes lavatory. Undertaker changes to mortician, which changes to funeral director...The euphemism treadmill shows that concepts, not words, are primary in peoples minds. Give a concept a new name, and the name becomes colored by the concept; the concept does not become freshened by the name, at least not for long. Names for minorities will continue to change as long as people have negative attitudes toward them. We will know that we have achieved mutual respect when the names stay put. (Steven Pinker, The Blank Slate: The Modern Denial o f Human Nature. Viking Penguin, 2002)- Any euphemism ceases to be euphemistic after a time and the true meaning begins to show through. Its a losing game, but we keep on trying. (Joseph Wood Krutch, If You Dont Mind My Saying So, 1964) Euphemisms, Dysphemisms, and Orthophemisms During the Cold War of 1946-89, NATO had a deterrent (euphemism) against the Russian threat (dysphemism). In the mid 1980s the USSR claimed to have been invited (euphemism) into Afghanistan; the Americans claimed that the Russians were aggressors (dysphemism) there. We get invited in; they are aggressors; the orthophemism is take military action in a foreign land. (Keith Allen and Kate Burridge, Forbidden Words: Taboo and the Censoring of Language. Cambridge Univ. Press, 2006) Euphemisms During the Victorian Era In the mid-19th century, the human form and its functions were so taboo that any words even hinting that people had bodies were banished from polite discourse. It became impossible to mention legsyou had to use limb, or even better, lower extremity. You couldnt ask for the breast of a chicken, but instead had to request the bosom, or make a choice between white and dark meat. Nor could you talk about trousers. There were numerous euphemisms instead, including inexpressibles, indescribables, unmentionables, inexplicables and continuations. Charles Dickens made fun of this extreme delicacy in Oliver Twist, when Giles the butler describes how he got out of bed and drew on a pair of . . .. Ladies present, Mr. Giles, warns another character. (Melissa Mohr, By Gods Nails: Careful How You Curse. The Wall Street Journal, April 20-21, 2013) In Defense of Euphemisms Euphemisms are not, as many young people think, useless verbiage for that which can and should be said bluntly; they are like secret agents on a delicate mission, they must airily pass by a stinking mess with barely so much as a nod of the head, make their point of constructive criticism and continue on in calm forbearance. Euphemisms are unpleasant truths wearing diplomatic cologne. (Quentin Crisp, Manners from Heaven, 1984) Transforming Schools During one of many anti-austerity protests last summer, more than 1,000 people rallied to oppose Philadelphias plans to transform schools, a pleasant euphemism generally meaning school closures and mass layoffs. (Allison Kilkenny, The Fight for Phillys Schools. The Nation, February 18, 2013) Crazy Crazy (and hence crazed and cracked) originally meant cracked, flawed, damaged (cp. crazy paving) and was applicable to all manner of illness; but it has now narrowed to mental illness. It captures the stereotypical mental patient as someone flawed, deficient (cf. mentally deficient), and is the basis for many euphemistic expressions for madness: crack-brained, scatter-brained, shatter-brained; head case, nutcase, bonkers, wacko, wacky; falling to pieces; have a (nervous) breakdown; unhinged; having a screw/tile/slate loose; one brick short of a load, not a full load; not playing with a full deck, three cards short of a full deck; one sandwich short of a picnic; two bob short of a quid, not the full quid; his elevator doesnt go to the top floor; a shingle short; and perhaps hes lost his marbles. (Keith Allen and Kate Burridge, Euphemism and Dysphemism: Language Used as a Shield and Weapon. Oxford University Press, 1991) The Lighter Side of Euphemisms Dr. House: Im busy.Thirteen: We need you to . . .Dr. House: Actually, as you can see, Im not busy. Its just a euphemism for get the hell out of here.(Dying Changes Everything, House, M.D.)Dr. House: Who were you going to kill in Bolivia? My old housekeeper?Dr. Terzi: We dont kill anyone.Dr. House: Im sorrywho were you going to marginalize?(Whatever It Takes, House, M.D.) Further Reading Visual EuphemismWhy Do We Use Euphemisms?Biased LanguageBowdlerismCacophemismFifty Reasons Youll Never Be Told, Youre FiredGenteelismGeorge Carlins Essential DrivelGrawlixHow to Flatter an Audience With Euphemisms, Dysphemisms, and  DistinctioIndirectnessMinced OathNever Say Die: Euphemisms for DeathOrthophemismParadiastolePejorative LanguageRestauranteseSoft LanguageTaboo LanguageTitle InflationTop 20 Figures of SpeechUnder the Flapdoodle Tree: Doublespeak, Soft Language, and GobbledygookVerbosityWhat Are Weasel Words?

In the news 2 Assignment Example | Topics and Well Written Essays - 250 words

In the news 2 - Assignment Example ed people have been united with their families and the news that the leader of the group had was to be re-united with her grandson elicited emotions in Argentina. Forces that were allied to the government kidnapped babies between 1976 and 1983 in the course of military autocracy which was one of the murkiest eras in a time that was entitled the Dirty war. Carlotto’s daughter was part of a guerilla group when she was arrested and imprisoned in 1977at a time when she was almost three months pregnant. She had to give birth to her so at a military hospital and she was returned to her cell without her baby and later executed. The dictatorship took away Carlotto’s daughter and she had no idea what had happened to her grandson even though she kept her hope. The grandson who was reunited with his grandmother is a 36 years old who is named Ignacio Hurban and works as a music director in a school in Olavarria but initially had doubts concerning the story of his life which led him to contact the grandmothers with the story of his life where he submitted DNA. After the DNA was tested, it was found to be a 99.99 percent match even though the first time the grandson had doubts are not clear. The president of Argentina was among the people who called the grandmother after the news of finding her grandson had been revealed to

A musical score of Citizen Kane utilizing Gorbman methodology Essay

A musical score of Citizen Kane utilizing Gorbman methodology - Essay Example This research will begin with the statement that Ð µhe notion that music in films usually has powerful effects on its viewers in indisputable. However, the careful examination of the reason behind the effects is greatly ignored. People tend to correlate previously unassociated pieces of drama to what is heard in a film music. Basically, any kind of music played in a film has to have a purpose. Every spontaneous melody or pre-composed piece is a potential option for a cinematic soundtrack (Patrik 45). One has to ask how and why people are so interested in combining drama and music in a film. While it is evident that the full emotional effect of a movie scene is carried through the successful interpretation of audio and visual information, the music in the movie still carries a significant effect for the interpretation of the director’s intent and style. The objective of this paper is to provide an analysis of the musical score of the movie Citizen Kane by utilizing Gorman and Kassabian methodologies.

Case Study 11-2, Dealing with Traffic Jams in London

11-2, Dealing with Traffic Jams in London - Case Study Example Project model provides essential information required in the implementation face. Integration of the technology proposed by the project was a challenge since the technology kept changing. The design of the streets does not provide an opportunity for mounting the cameras. The positioning of the cameras required clear roads, which would facilitate the relaying of the pictures. The project faced a political risk since the mayor of the city wanted to build his reputation. The fear of failure was a menace that the project had to deal with. Inadequate experience in the application information technology was another challenge that the project faced. The management strategy that I would recommend for the project include outsourcing competent personnel in the field of information technology to jump start a pilot project in a few streets in the city. Rolling the project in the whole city at one time could not yield effective result. Strategic development of checks and balances for the project would help to avoid inconveniencies. Project methodology identified five critical areas that it would address in piloting the project. Selection of technology for the five key areas was a step taken in order to reduce risks. Tendering of the project to large cooperation was a wise move since large corporations have the ability to meet big project. Provision of small tenders to individuals could help in making effective management of the project (Wysocki, 2011). Management of tenders by Deloitte & Touche was geared towards achieving the best result. After the selection of the best bidder, the project rolled out. Management of the project by a firm like Deloitte was a wise decision since it helped the city government to monitor the work without the political interference. The approach that was developed in the project methodology was appropriate since it eliminated risks that the project

Effects of Copyright on the Consumption Music

Effects of Copyright on the Consumption Music The aim of this dissertation is to understand the effects of copyright on the consumption and acquisition of music online. With a focus on Feels Like Free services such as Spotify as well as illegal file sharing services, research into the copyright issues surrounding the debate present a picture of how music is being consumed at present. Building on notable works and theories of research in the area {} the dissertation supplies evidence supporting the continuing dominance of labels as right-holders in the new digital era. With one-on-one interviews with emerging artists at the forefront of digital music as well as group interviews with consumers a convergence of opinion on key points provides an insight into the effectiveness of current digital music distribution services as well as the enforcement and enforceability of current copyright laws. Introduction This dissertation focusses on the challenges of distributing digital music in an era of unprecedented web use. Access to digital media is increasingly a part of peoples every day lives and the issues surrounding access to content and the legal implications therein are the subject of much debate. It is natural that the rights holders and their representatives would assume a position protecting their legal rights and the cases of pursuance of both individual and commercial rights infringers are well documented, however some say copyright law is dated (Negroponte, 1995) and beyond the task of policing the digital frontier of music distribution. This dissertation investigates the effect of copyright on audience and artist attitudes to digital music distribution in both legal and illegal forms. Using relevant literature and established studies it addresses the benefits of the chosen research for this investigation and provides results giving evidence for the various claims and counter cla ims made on both sides of the copyright argument. In doing so it is intended that my results will give a picture of current distribution methods and their ability to deal with copyright as well as rights holders ability to enforce it in an increasingly digitised age. By gathering evidence using one-to-one interviews with two emerging artists as well as consumer interviews conducted at group level I am able to establish the artists interaction with the process of copyright and the extent to which it alters their distribution of music whilst also engaging the audience in debate about their understanding and adherence to the existing issues surround accessing digital music. The involvement of both artist and audience provides a unique opportunity to pinpoint the present effect of the existing systems of music distribution and the copyright protection available. Digital Music Copyright At the crux of the debate surrounding digital music distribution is the issue of copyright and the infringement thereof. Arguments both for and against the current system of rights ownership and management are well documented and some clear division between the opinions of those who hope to gain capital from the ownership of rights and those who wish to produce and consume digital music is revealed. The representative bodies existing to support the rights of the artist , such as the BPI (British Phonographic Industry) and the RIAA (Recording Industry Association of America) have staunch views on the use of their intellectual property and defined by the BPI, copyright in its current form can be surmised as follows: Copyright is the foundations which the music business is built. In its simplest terms, it is a form of intellectual property and, as such, gives the creator or the owner/ author of that work exclusive rights over how it is published, distributed and adapted. (BPI [online] 2009) The collective gusto of the recording industry to enforce their stance on what they see as a critical issue to the music business has led to much bad publicity and a galvanisation of some copyright infringers as a group with a serious social point to make. Kembrew McLeod (2005) agrees that infringement of copyrighted material online presents a significant problem for the monopoly held by the industry giants, even going as far as to view this as a positive consequence of file sharing and distribution. Arguing in favour of a diminished corporate monopoly, McLeod uses examples of successes for smaller independent artists, helped in part by the evolution of media distribution methods available to cut out the middle-man. With both artist and audience interviews revealing a symRobhy for McLeodÊ ¼s statements, most participants demonstrated a sophisticated understanding of the possible advantages that new distribution methods offer smaller/less established artists, who often work outsi de of the boundaries of the established music industry. Williamson Cloonan (2007) accuse the BPI of blurring its distinction between the ‘interests of British record companies which it claims to represent with a wider definition of the ‘music business . The process of recording, distributing and marketing music is one element of the music industry but its inferred connection to grassroots music of all levels seems to be the bone of contention, as is borne out in my group research. The strength of language words and aggressive tone of both the RIAA and BPI in dealing with infingers, combined with the appropriation of the wider music industry for moral grounds (Williamson Cloonan, 2003, p. 305-7) adds to a misunderstanding regarding what exactly the music industry is and how it affects users access to media. There is an obvious disparity in opinion on either side of the debate surrounding copyright law, with the nature of what copyright represents and who it protects a nd particularly how it is relevant to new digital models of distribution and consumption open to much debate. These diverging opinions are likely to have an impact on how consumers and artists understand the issues within this field, and clearly how they relate and react to them. Media Access The history and development of studying audiences and their consumption habits is by now highly sophisticated and the subject of much debate and research. Using the work of others as a guide as well as theory and research my aim is to understand how audiences are accessing digital content and if their understanding of the legality of so doing , alters how they interact with the content. Longhurst (2007) observes that the most significant contemporary change to [music consumption] is coming through downloadability (p. 205). The pervasive nature of digital consumption in todays culture is displayed throughout both artist and audience responses showing high levels of use and understanding of the medium. An RIAA commissioned report (Siwek, 2007) carried out in the United States by the Institute for Policy Innovation (IPI) suggest that online copyright infringement costs the industry $12.5 billion annually(online). It is fair to assume the the access to both legal and illegal digital musi c is affect the industry greatly but these figures are open to criticism for there bias. The research of Huang (2005) into file sharing as a means of music consumption through group interviews of college students concludes that music file sharing is now a facet of music culture from a social perspective. My studies have some support for this claim with even artists describing extensive p2p use and one actively embracing it as a means of propagation of his material. Mascheroni et al (2008) conducted a comparable ethnographic study digital television consumption. The study concludes that young viewers are capable of defining their relationship with media based on present developments in the field rather than existing paradigms and traditions, and in doing so perhaps goes some way to explain the findings of Huangs research on college students. In similar ethnographic profiling Harwood (1997) compared television viewing Robterns of different aged groups, finding that decisions are representative of perceived Ê »social identityÊ ¼. It is arguable that similar influe nces are at play in consumers interaction with digital music consumption and with the increasing convergence of digital content, user generated content, and the social influences aforementioned, copyright infringement and any repressions appear to have very marginal impact on consumption habits. Based on the highlighted works the interaction between consumers and the legal implications surrounding content access are likely to vary in line with social perception and experience led understanding of the field. The fact that the artists were so Robert about file sharing, their involvement with it and its potential for positive use, adds weight to the claim copyright regulations for digital music are past their prime and lacking in effectiveness. Unique Online Considerations Various possible explanations for the ways in which digital media access has changed consumption habits have been covered previously. Increased media access has inevitably led to increased temptation to use nodal connectivity for illegal file sharing, although if the enactment of this abuse is as widespread as the BPI and RIAA would like us to think is another matter. Borne out of this peer to peer system of file distribution new products are being brought to market that provide alternatives to illegal acquisition of content. Analysing the manner in which consumers access content and services online has led to , sophisticated modEmmang of the accessibility and demand for said content and services. AndersonÊ ¼s (2006) presents a long tail model which serves as an example of such studies. The model refers to online commercial distribution with the most popular and commercial, products at one end of the graph with the highest volume of sales. The graph extends to illustrate the alm ost limitless potential for online sales in specialist or minority markets. Fig i. Long Tail Model (Anderson, 2006) Anderson further sets forth an opinion that the broadening of potential promotion and distribution online has increasingly opened up more possibilities for for both artists and consumers. Applying the long tail theory, it is obvious that it proposes a different system of economics to the traditional retail sector. Adding to this the obvious advantages of products being available around the clock, often irrespective of regional restrictions and the idea of a new economic model is further strengthened. The ability to cover areas of minuscule interest with little additional overheads enables retailers to offer huge depth of choice as well as broadening the idea of ownership of content through streaming.. Clearly the economics of online commerce are very different to the traditional model, however the rules of engagement surrounding copyright are expected to fit both models. two is different, yet the laws of copyright remain the same. Illegal sharing of content is viewed as an infringement of rights and therefore a form of theft as attested by the RIAA. The case that eventually closed the late nineties file sharing platform Napster, as detailed first by Merriden (2001) and then Menn (2003) illustrates the ramifications and interest in the first high-profile case of file sharing. Speaking of Napster Wall states; The record companies proposed that the Napster system ripped off artists and would kill music, while they made the legal argument that Napster encouraged the infringement of copyrights they held. Napster countered by arguing that members of Napster were making fair non-commercial use of the rights already assigned with the original sale of the record that had been converted into mp3 files. (Wall 2003, p223) Continuing where the Napster litigation left off, cases between the industry and p2p networks are still widespread today, showing that the industry has moved on little in the intervening years. The Swedish prosecution and proposed imprisonment of the creators of infamous file sharing tracker The Pirate Bay (Johnson Kiss, 2009) is perhaps the highest profile case today and could be seen as the modern Napster. In an attempt to bolster the music industries grasp on digital distribution a number of new models have been brought to market., Many mobile phone operators worldwide now offer unlimited music bundles with cell contracts and the emergence of streaming services mentioned such as Last.fm and Spotify, are seen in the group interviews to have a positive influence on peoples adherence to copyright. Gerd Leonhard (with Kusek 2005 2008) is describes these services as Ê »feels like free.Ê ¼ Advertising and premium service upgrades present the creates potential for capitalisat ion of music. Spotify has been a particular success in Europe, with the BBC reporting figures that already 5% of its users have upgraded to a premium service, giving it some 320,000 users paying  £10 per month for its full offering (BBC, 2010, online). This small percentage provides and annual turnover in the region of  £38,400,000 excluding additional revenue provided by advertising, proving that Spotify is a serious force in the online distribution business without even launching fully in the United States. By looking at audience habits and interaction with both copyright and media we can see that the new media model and the traditional approach to distributing music are increasingly unable to keep up with the consumer driven demand for online services, leaving companies such as Spotify to move in and become a type of new music industry for the 21st century. The difficulty inherent to their role is that the copyright for the material they wish to distribute is often owned by o ne of their more traditional predecessors. Methodology In this chapter I offer justification for the effectiveness of my methods for the collection of audience and artist responses to their interaction with digital music copyright. I use two groups of participants; one younger (16- 25) as well as a group from an older demographic of consumers (40-65) with both groups being representative of consumers as well as two individuals representative of artists. As this study represents a small cross section of the many people who are involved in roles as both consumer and artist definitive conclusions solely gathered from my findings alone are difficult to ascertain. The value however, of conducting the comparative interview types, is the provided overview of responses, and how they interplay with the core arguments surrounding the debate. Work by Huang (2005) and Macheroni et al (2008) would suggest that younger audiences are less concerned about the implications of peer to peer sharing and thus more likely to use the distribution method. Using relative methods I build upon their work, highlighting and supporting claims by providing complimentary evidence and similar findings. HuangÊ ¼s (2005) use of groups interviews highlighted specific areas of interest with direct interaction with audience members, whilst MascheroniÊ ¼s (2008) research adopted ethnographic studies of online, as well as off line interaction in a more one to one manner. Due to the nature of copyright interaction online ethnographic study of users could be applied to researching users of file sharing services. The problem with this is the anonymity in this type of cinteraction, discussed by Watt, Lea and Spears (2002). Although there is potential for some light to be shed on how audiences share music online, it would be difficult to rationalise the reasons for this activity, providing little evidence to illuminate the reader on audience behaviour. My own studies, made use of extensive one on one interviews allowing unsigned artists a mouthpiece within the debate. The benefit of exposing the artists to the one on one interview process was expected to be a greater understanding and experience of copyright yielding technical data on the subject. This was then coupled with group based research. With guidance from Bertrand and Hughes (2005, p81), the group interviews, were expected to benefit from inter-participant discussion allowing some involved to make up in shortfalls of technical knowledge. As a well established means of audience research, group interviews can help garner natural responses from participants. It must always be considered however that these discussions do not take place in unmonitored environments and so must be viewed as having the potential to be polluted by the participants knowledge that what is being said is also being recorded. A particularly pertinent issue given the legal climate surrounding the issues covered. The legal aspect of my research may encourage participants to shy away from full, Robert answers, however the focus group environment should also foster greater candour and less inherently solicited responses than that of one on one interviews for instance (Boubour 2007) although the combination of the two means of study should have a balancing effect on the results. Research Findings Here I present the findings of my primary research investigating the interplay between copyright issues and digital music consumption. The material put forward here is the product of the two group interviews and two individual interviews with consumers and artists respectively. The discussions centred around the same key themes including the participants access to and use of digital music as well as attitudes and understanding of the related legal issues. Of particular importance for my study are responses they may have relevance towards legal the constraints and considerations surrounding the notion of digital music access. Providing the the structural basis of this chapter my aim is to discover any visible Robterns between the responses of the two types of interviewee. Consumption Listening Habits: The primary question for the interviews is one of use and involvement in digital music. It is essential to establish the extent, if any, to which the interview subjects interact with digital music content, irrespective of its origin. The following section examines participant music consumption routines and in particular, digital music consumption habits. Based on their replies, I address the stereotype that older audiences are less willing and able to undertake interaction with new delivery methods whilst isolating comparisons between the groups in other forms of music consumption. On broaching the subject of use of digital music with the older group, it was clear that most participants were involved and responsive to the means of content distribution. Many of the group cited the iPhone or iPod as an influence on their ease of access and enjoyment of digital music, proving Apple have a huge say in how this market is set to develop. either using mp3 players or their mobile phone to co nsume digital music. When the group was asked if they had access to a digital music player the response was as follows, Howard: Of course IÊ ¼ve had mp3 phones for a good 5 years now and players for a bit longer. Dominic: Yeah me too I would say, not the players but the phones, I use an iPhone for everything now. Howard: I still use my player for jogging though, I dont like to be bothered by phone calls but I still want my music with me. Most made some use of access to digital music on a regular basis. This helps to dispel the myth of a generation gap regarding digital media use as alluded to in the work of Mascheroni et al (2008). Although this establishes a commonality in usage of devices we are yet to establish meaningful connections between access and consumption habits. In the older group. The concept of digital music consumption representing the mainstay of their listening habits produced varied responses. For the older group the response was as follows: Dominic: For the car or the house I spose real music, sorry I should say CDs and stuff I spose, real music is normally what I go for. Robert: Yeah the same really. This is similar to the attitudes of both artists interviewed. Biometrix: Yeah its really all about vinyl for me but that normally means I have to rip the vinyl if I want to listen to it on my phone or anything like that Gecko: I collect all sorts of CDs and records, when we go on tour I normally come back with a pile of discs Ive either bought or been given. With the artists and the older audience still actively engaged in the acquisition and collation of music it is clear that there is still a space for tangible products within the music industry. Such observations are notably absent when dealing with the younger of the group studies. In this group there was evidence of a fractured landscape of media access with no commonly held method of consuming music. Youtube, Spotify and Soundcloud provide a number of feels like free options for home use along with the ubiquitous iPod/Phone, however the access to music was overwhelmingly digital amongst this group. It can be said that both groups access digital content in a number of ways, with the younger group being more selective and more aware of different delivery methods, perhaps indicated by the greater disparity in the services and methods of consumption they chose. Within this younger group, extensive different ways of acquiring digital music were referenced, including demonstrable evidence of LeonhardÊ ¼s (2008) Ê »feels like freeÊ ¼ streaming services such as Spotify and Last.fm. The following extract is taken from the opening stages of the younger focus group; MarT: Spotify, mainly. Youtube too, but there is much less music on there now and when you find something you like it gets deleted after a while for copyright stuff. Spotify have made it so easy and if they have pretty much everything so you can just go there, and if you canÊ ¼t find it aint on Spotify there might be a live version or something on Youtube but the quality is always ropey. The only bad thing about Spotify is that you get ads but its still free and its much safer than downloading audio files. Steve: Everything is so joined up on Spotify, like suggested artists and playlists and stuff, I spose its similar on Youtube, you can spend hours exploring. Claire: And you dont have to buy anything or give your card details over. Similarly both artists are avid users of Spotify amongst other streaming services: Gecko: I know the money is peanuts for getting played on there but it makes you accessible to so many people, some of them dont have enough money to pay for your album or your mp3 or whatever but the fact that they can still access it is important to grow as an artist. Its like playing a gig and barely making the petrol money to get home. We all do it but some of us are a bit more relaxed about the good it does for us. Biometrix: I use Spotify all the time, really its stopped me stealing a lot of music really. Its so much easier than actually downloading something so normally I just do that because I cant be bothered finding what I want and then waiting on it to arrive on my computer. Clearly Spotify offers an innovative model that can fit into both of MyÃ… ¡kaÊ ¼s (2009) subscription service model categories. A monthly fee can be paid to allow listeners to enjoy uninterrupted music without advertising and also allow access to feature rich content such as mobile streaming and offline listening, as well as Leonhards (2009) Ê »feels like freeÊ ¼ model that is funded by advertising. Of the myriad methods of media access identified, use of Web 2.0 music consumption models such as Spotify demonstrates a fall in favour of traditional peer to peer networks, contrary to the testaments of the recording industry (Siwek, 2007.) This goes some way to enforce the claims of Leonhard (2009) that these new, lawful access streams provide an attractive alternative to illegal downloading and also allay industry concerns about copyright protection. The interview subjects also cited the simplicity of these new methods in allowing them to locate music without the extensi ve searching that is commonplace with peer to peer access to media. Engagement with File Sharing: In this section, we assess the subjects involvement with the file sharing. I present rationalisation of the participants use or otherwise of file sharing networks and investigate their understandings and interactions with the legal ramifications of such actions. As the conversation developed, unexpectedly within the older group, many of the participants had used peer to peer services in the past, whilst perhaps their usage was limited, responses seemed mixed. Shaun: IÊ ¼ve used Megaupload in the past Yeah. Subscribed to that. We didnt download without our subscription, but now lapsed, I dont about the kids but yeah, Megaupload. I used to et a lot of other stuff there like films and ebooks so it was great. We can see that the participants have an understanding of file sharing as a concept, if not perhaps the finer points of nodal networking. There is an inference that by purchasing a subscription the subject considers themselves to have bought their downloads. This is however false and the subscription simply provides faster download speeds. The artists had a more sophisticated understanding of how rights related to downloading and sharing content, however it is notable that this greater insight did little to dissuade them from partaking in file sharing. Biometrix: Yeah I do download stuff, not as much as I used to but if theres something I cant find on Spotify or Soundcloud or that stuff then I will just go on a torrent site but I feel bad about it, I reckon, well I reckon because I think about what it would be like if the musicians were like me, just starting out or something. The guilt mechanism in this response shows a belief that the RIAA/BPI position is correct and that the copyright issues surrounding this kind of media access is universally illegal. This shows some support for the industry having a direct influence over peoples online interactions despite their diminished market share. One of the artists in particular also uses p2p sharing to promote and distribute their own material. Biometrix: I try to make a couple of free songs every month and put them on soundcloud for people to download. Its pretty much a thanks to all the people on Facebook, Soundcloud and Youtube who like my music and keep my profile hits high. I know theyre on the torrent sites but I dont mind, they were free anyway. This positive use of filesharing allows the artist greater exposure with virtual nil as an overhead, undercutting the top-heavy music industry and presenting the egalitarian model favoured by McLeod (2005). Responses to Legal Issues Industry Implications; This section aims to build on the responses in the previous section by filling out the subjects understanding of the legal issues involved with file sharing. Particularly noticeable in these answers is the difference between the artist and audience categories. As mentioned earlier there have been many examples of litigations against providers of p2p services, such as the media-circus trial of Ê »The Pirate BayÊ ¼ founders. Whilst the audience groups had little knowledge of such cases the artists seemed far better versed in what was going on within the industry to shape the distribution of music. Biometrix: Yeah, IÊ ¼ve know a lot about it actually The pirate bay have been found guilty of copyright abuse and theyre appealing their jail term now I think. Its a pretty big deal, all of the big film companies have been after them. The site is still going though, so it doesnt seem to have done much good does it? Gecko: Pirate bay is huge. Its not just pirating things, they do all sorts, politics and freedom of speech stuff and all of that. I think it was started by activists but I dont know whos involved nowadays. As soon as something gets taken off it seems to come straight back up. Loads of people use it. Infringement and theft are put forwards by McLeod as tactics to enforce the monopoly of the recording industry. Of the subjects opinions on the significance file sharing has for the music industry, the various subjects displayed an array of responses. The following extracts are taken from the older subjects; Dominic: Small bands dont have a bean basically. Those are the people you are robbing off, not the execs or anything. Emma: They must be getting paid somehow, the music is still out there. Robert: But the money doesnt go to the band. This passage underlines the fact that members in this group believe that the majority of income for musicians, particularly less prolific artists, is provided by their record sales. This understanding of the revenue streams available to music industries also demonstrates a finely tuned understanding of what the Ê »music industryÊ ¼ entails. Williamson and CloonanÊ ¼s (2007) arguments against the wide spread use of the term, based on my findings, suggest older generations are indeed more inclined to understand the term equating to the recording industry. The actions of the recording industries and the responses from audiences can be seen as an example of Michel de CerteauÊ ¼s idea of Ê »strategies and tacticsÊ ¼ (1984). The strategies of the power structures within the relationship, in this case, the industries retention of traditional retail models and the discourse that it equates to the music industry (BPI, 2009), in contrast to the tactics of audiences. This investigation finds between age demographics the response tactics identifiable and noticably different. The older group creates their own space through a sceptical approach to recording industry practices, methods of media access and opinion demonstrate stronger ties with the recording industry discourse crime and punishment. The both the artists and younger group members seemed much more separated from these established means of operation, shown in their symRobhy for file sharing, anti-corporate comments and reluctance to trust established regulations regardin g copyright infringement. Based on the findings outlined above, the suggestion is that audiences are highly aware that there are legal implications surrounding the sharing of files, but their opinions and responses to the validity of these implications are generationally split. The evidence provided by the younger demographic of both audience and artists provides support for the views of McLeod (2005) whereas the older group demonstrated a much more accepting response for the necessity of copyright legislation as a protection against theft. Applying music retail and commerce theories presented by Anderson (2006) and Dubber (2007), most of the participants appeared to be informed of the changes online distribution was experiencing, although there was rejection of the industrys reluctance to develop progressive content access agreements along with them. The divergence of opinion in the application of rights enforcement between the two groups adds weight to the arguments presented by Garofalo (2003), acting to s et the balance between the two sides of the rights argument, preventing the financial exploitation of free music, whilst also managing a free channel of access to consumers. Conclusion It can be established from the results of my investigation that audience and artist opinions are divided on the justifications for rights protection and the enforcement thereof in relation to digital music access. Whilst there is clear evidence of a move towards digital media consumption, there is a distinct generational gap in the manner in which different age groups access music digitally. Older generations seem to fall into line with traditional models of product capitalisation, purchasing physical formats and viewing transgression of copyright online as theft. Younger subjects more immersed in digital media and having grown up during the internet gold rush have a far less strict attitude to the acquisit Effects of Copyright on the Consumption Music Effects of Copyright on the Consumption Music The aim of this dissertation is to understand the effects of copyright on the consumption and acquisition of music online. With a focus on Feels Like Free services such as Spotify as well as illegal file sharing services, research into the copyright issues surrounding the debate present a picture of how music is being consumed at present. Building on notable works and theories of research in the area {} the dissertation supplies evidence supporting the continuing dominance of labels as right-holders in the new digital era. With one-on-one interviews with emerging artists at the forefront of digital music as well as group interviews with consumers a convergence of opinion on key points provides an insight into the effectiveness of current digital music distribution services as well as the enforcement and enforceability of current copyright laws. Introduction This dissertation focusses on the challenges of distributing digital music in an era of unprecedented web use. Access to digital media is increasingly a part of peoples every day lives and the issues surrounding access to content and the legal implications therein are the subject of much debate. It is natural that the rights holders and their representatives would assume a position protecting their legal rights and the cases of pursuance of both individual and commercial rights infringers are well documented, however some say copyright law is dated (Negroponte, 1995) and beyond the task of policing the digital frontier of music distribution. This dissertation investigates the effect of copyright on audience and artist attitudes to digital music distribution in both legal and illegal forms. Using relevant literature and established studies it addresses the benefits of the chosen research for this investigation and provides results giving evidence for the various claims and counter cla ims made on both sides of the copyright argument. In doing so it is intended that my results will give a picture of current distribution methods and their ability to deal with copyright as well as rights holders ability to enforce it in an increasingly digitised age. By gathering evidence using one-to-one interviews with two emerging artists as well as consumer interviews conducted at group level I am able to establish the artists interaction with the process of copyright and the extent to which it alters their distribution of music whilst also engaging the audience in debate about their understanding and adherence to the existing issues surround accessing digital music. The involvement of both artist and audience provides a unique opportunity to pinpoint the present effect of the existing systems of music distribution and the copyright protection available. Digital Music Copyright At the crux of the debate surrounding digital music distribution is the issue of copyright and the infringement thereof. Arguments both for and against the current system of rights ownership and management are well documented and some clear division between the opinions of those who hope to gain capital from the ownership of rights and those who wish to produce and consume digital music is revealed. The representative bodies existing to support the rights of the artist , such as the BPI (British Phonographic Industry) and the RIAA (Recording Industry Association of America) have staunch views on the use of their intellectual property and defined by the BPI, copyright in its current form can be surmised as follows: Copyright is the foundations which the music business is built. In its simplest terms, it is a form of intellectual property and, as such, gives the creator or the owner/ author of that work exclusive rights over how it is published, distributed and adapted. (BPI [online] 2009) The collective gusto of the recording industry to enforce their stance on what they see as a critical issue to the music business has led to much bad publicity and a galvanisation of some copyright infringers as a group with a serious social point to make. Kembrew McLeod (2005) agrees that infringement of copyrighted material online presents a significant problem for the monopoly held by the industry giants, even going as far as to view this as a positive consequence of file sharing and distribution. Arguing in favour of a diminished corporate monopoly, McLeod uses examples of successes for smaller independent artists, helped in part by the evolution of media distribution methods available to cut out the middle-man. With both artist and audience interviews revealing a symRobhy for McLeodÊ ¼s statements, most participants demonstrated a sophisticated understanding of the possible advantages that new distribution methods offer smaller/less established artists, who often work outsi de of the boundaries of the established music industry. Williamson Cloonan (2007) accuse the BPI of blurring its distinction between the ‘interests of British record companies which it claims to represent with a wider definition of the ‘music business . The process of recording, distributing and marketing music is one element of the music industry but its inferred connection to grassroots music of all levels seems to be the bone of contention, as is borne out in my group research. The strength of language words and aggressive tone of both the RIAA and BPI in dealing with infingers, combined with the appropriation of the wider music industry for moral grounds (Williamson Cloonan, 2003, p. 305-7) adds to a misunderstanding regarding what exactly the music industry is and how it affects users access to media. There is an obvious disparity in opinion on either side of the debate surrounding copyright law, with the nature of what copyright represents and who it protects a nd particularly how it is relevant to new digital models of distribution and consumption open to much debate. These diverging opinions are likely to have an impact on how consumers and artists understand the issues within this field, and clearly how they relate and react to them. Media Access The history and development of studying audiences and their consumption habits is by now highly sophisticated and the subject of much debate and research. Using the work of others as a guide as well as theory and research my aim is to understand how audiences are accessing digital content and if their understanding of the legality of so doing , alters how they interact with the content. Longhurst (2007) observes that the most significant contemporary change to [music consumption] is coming through downloadability (p. 205). The pervasive nature of digital consumption in todays culture is displayed throughout both artist and audience responses showing high levels of use and understanding of the medium. An RIAA commissioned report (Siwek, 2007) carried out in the United States by the Institute for Policy Innovation (IPI) suggest that online copyright infringement costs the industry $12.5 billion annually(online). It is fair to assume the the access to both legal and illegal digital musi c is affect the industry greatly but these figures are open to criticism for there bias. The research of Huang (2005) into file sharing as a means of music consumption through group interviews of college students concludes that music file sharing is now a facet of music culture from a social perspective. My studies have some support for this claim with even artists describing extensive p2p use and one actively embracing it as a means of propagation of his material. Mascheroni et al (2008) conducted a comparable ethnographic study digital television consumption. The study concludes that young viewers are capable of defining their relationship with media based on present developments in the field rather than existing paradigms and traditions, and in doing so perhaps goes some way to explain the findings of Huangs research on college students. In similar ethnographic profiling Harwood (1997) compared television viewing Robterns of different aged groups, finding that decisions are representative of perceived Ê »social identityÊ ¼. It is arguable that similar influe nces are at play in consumers interaction with digital music consumption and with the increasing convergence of digital content, user generated content, and the social influences aforementioned, copyright infringement and any repressions appear to have very marginal impact on consumption habits. Based on the highlighted works the interaction between consumers and the legal implications surrounding content access are likely to vary in line with social perception and experience led understanding of the field. The fact that the artists were so Robert about file sharing, their involvement with it and its potential for positive use, adds weight to the claim copyright regulations for digital music are past their prime and lacking in effectiveness. Unique Online Considerations Various possible explanations for the ways in which digital media access has changed consumption habits have been covered previously. Increased media access has inevitably led to increased temptation to use nodal connectivity for illegal file sharing, although if the enactment of this abuse is as widespread as the BPI and RIAA would like us to think is another matter. Borne out of this peer to peer system of file distribution new products are being brought to market that provide alternatives to illegal acquisition of content. Analysing the manner in which consumers access content and services online has led to , sophisticated modEmmang of the accessibility and demand for said content and services. AndersonÊ ¼s (2006) presents a long tail model which serves as an example of such studies. The model refers to online commercial distribution with the most popular and commercial, products at one end of the graph with the highest volume of sales. The graph extends to illustrate the alm ost limitless potential for online sales in specialist or minority markets. Fig i. Long Tail Model (Anderson, 2006) Anderson further sets forth an opinion that the broadening of potential promotion and distribution online has increasingly opened up more possibilities for for both artists and consumers. Applying the long tail theory, it is obvious that it proposes a different system of economics to the traditional retail sector. Adding to this the obvious advantages of products being available around the clock, often irrespective of regional restrictions and the idea of a new economic model is further strengthened. The ability to cover areas of minuscule interest with little additional overheads enables retailers to offer huge depth of choice as well as broadening the idea of ownership of content through streaming.. Clearly the economics of online commerce are very different to the traditional model, however the rules of engagement surrounding copyright are expected to fit both models. two is different, yet the laws of copyright remain the same. Illegal sharing of content is viewed as an infringement of rights and therefore a form of theft as attested by the RIAA. The case that eventually closed the late nineties file sharing platform Napster, as detailed first by Merriden (2001) and then Menn (2003) illustrates the ramifications and interest in the first high-profile case of file sharing. Speaking of Napster Wall states; The record companies proposed that the Napster system ripped off artists and would kill music, while they made the legal argument that Napster encouraged the infringement of copyrights they held. Napster countered by arguing that members of Napster were making fair non-commercial use of the rights already assigned with the original sale of the record that had been converted into mp3 files. (Wall 2003, p223) Continuing where the Napster litigation left off, cases between the industry and p2p networks are still widespread today, showing that the industry has moved on little in the intervening years. The Swedish prosecution and proposed imprisonment of the creators of infamous file sharing tracker The Pirate Bay (Johnson Kiss, 2009) is perhaps the highest profile case today and could be seen as the modern Napster. In an attempt to bolster the music industries grasp on digital distribution a number of new models have been brought to market., Many mobile phone operators worldwide now offer unlimited music bundles with cell contracts and the emergence of streaming services mentioned such as Last.fm and Spotify, are seen in the group interviews to have a positive influence on peoples adherence to copyright. Gerd Leonhard (with Kusek 2005 2008) is describes these services as Ê »feels like free.Ê ¼ Advertising and premium service upgrades present the creates potential for capitalisat ion of music. Spotify has been a particular success in Europe, with the BBC reporting figures that already 5% of its users have upgraded to a premium service, giving it some 320,000 users paying  £10 per month for its full offering (BBC, 2010, online). This small percentage provides and annual turnover in the region of  £38,400,000 excluding additional revenue provided by advertising, proving that Spotify is a serious force in the online distribution business without even launching fully in the United States. By looking at audience habits and interaction with both copyright and media we can see that the new media model and the traditional approach to distributing music are increasingly unable to keep up with the consumer driven demand for online services, leaving companies such as Spotify to move in and become a type of new music industry for the 21st century. The difficulty inherent to their role is that the copyright for the material they wish to distribute is often owned by o ne of their more traditional predecessors. Methodology In this chapter I offer justification for the effectiveness of my methods for the collection of audience and artist responses to their interaction with digital music copyright. I use two groups of participants; one younger (16- 25) as well as a group from an older demographic of consumers (40-65) with both groups being representative of consumers as well as two individuals representative of artists. As this study represents a small cross section of the many people who are involved in roles as both consumer and artist definitive conclusions solely gathered from my findings alone are difficult to ascertain. The value however, of conducting the comparative interview types, is the provided overview of responses, and how they interplay with the core arguments surrounding the debate. Work by Huang (2005) and Macheroni et al (2008) would suggest that younger audiences are less concerned about the implications of peer to peer sharing and thus more likely to use the distribution method. Using relative methods I build upon their work, highlighting and supporting claims by providing complimentary evidence and similar findings. HuangÊ ¼s (2005) use of groups interviews highlighted specific areas of interest with direct interaction with audience members, whilst MascheroniÊ ¼s (2008) research adopted ethnographic studies of online, as well as off line interaction in a more one to one manner. Due to the nature of copyright interaction online ethnographic study of users could be applied to researching users of file sharing services. The problem with this is the anonymity in this type of cinteraction, discussed by Watt, Lea and Spears (2002). Although there is potential for some light to be shed on how audiences share music online, it would be difficult to rationalise the reasons for this activity, providing little evidence to illuminate the reader on audience behaviour. My own studies, made use of extensive one on one interviews allowing unsigned artists a mouthpiece within the debate. The benefit of exposing the artists to the one on one interview process was expected to be a greater understanding and experience of copyright yielding technical data on the subject. This was then coupled with group based research. With guidance from Bertrand and Hughes (2005, p81), the group interviews, were expected to benefit from inter-participant discussion allowing some involved to make up in shortfalls of technical knowledge. As a well established means of audience research, group interviews can help garner natural responses from participants. It must always be considered however that these discussions do not take place in unmonitored environments and so must be viewed as having the potential to be polluted by the participants knowledge that what is being said is also being recorded. A particularly pertinent issue given the legal climate surrounding the issues covered. The legal aspect of my research may encourage participants to shy away from full, Robert answers, however the focus group environment should also foster greater candour and less inherently solicited responses than that of one on one interviews for instance (Boubour 2007) although the combination of the two means of study should have a balancing effect on the results. Research Findings Here I present the findings of my primary research investigating the interplay between copyright issues and digital music consumption. The material put forward here is the product of the two group interviews and two individual interviews with consumers and artists respectively. The discussions centred around the same key themes including the participants access to and use of digital music as well as attitudes and understanding of the related legal issues. Of particular importance for my study are responses they may have relevance towards legal the constraints and considerations surrounding the notion of digital music access. Providing the the structural basis of this chapter my aim is to discover any visible Robterns between the responses of the two types of interviewee. Consumption Listening Habits: The primary question for the interviews is one of use and involvement in digital music. It is essential to establish the extent, if any, to which the interview subjects interact with digital music content, irrespective of its origin. The following section examines participant music consumption routines and in particular, digital music consumption habits. Based on their replies, I address the stereotype that older audiences are less willing and able to undertake interaction with new delivery methods whilst isolating comparisons between the groups in other forms of music consumption. On broaching the subject of use of digital music with the older group, it was clear that most participants were involved and responsive to the means of content distribution. Many of the group cited the iPhone or iPod as an influence on their ease of access and enjoyment of digital music, proving Apple have a huge say in how this market is set to develop. either using mp3 players or their mobile phone to co nsume digital music. When the group was asked if they had access to a digital music player the response was as follows, Howard: Of course IÊ ¼ve had mp3 phones for a good 5 years now and players for a bit longer. Dominic: Yeah me too I would say, not the players but the phones, I use an iPhone for everything now. Howard: I still use my player for jogging though, I dont like to be bothered by phone calls but I still want my music with me. Most made some use of access to digital music on a regular basis. This helps to dispel the myth of a generation gap regarding digital media use as alluded to in the work of Mascheroni et al (2008). Although this establishes a commonality in usage of devices we are yet to establish meaningful connections between access and consumption habits. In the older group. The concept of digital music consumption representing the mainstay of their listening habits produced varied responses. For the older group the response was as follows: Dominic: For the car or the house I spose real music, sorry I should say CDs and stuff I spose, real music is normally what I go for. Robert: Yeah the same really. This is similar to the attitudes of both artists interviewed. Biometrix: Yeah its really all about vinyl for me but that normally means I have to rip the vinyl if I want to listen to it on my phone or anything like that Gecko: I collect all sorts of CDs and records, when we go on tour I normally come back with a pile of discs Ive either bought or been given. With the artists and the older audience still actively engaged in the acquisition and collation of music it is clear that there is still a space for tangible products within the music industry. Such observations are notably absent when dealing with the younger of the group studies. In this group there was evidence of a fractured landscape of media access with no commonly held method of consuming music. Youtube, Spotify and Soundcloud provide a number of feels like free options for home use along with the ubiquitous iPod/Phone, however the access to music was overwhelmingly digital amongst this group. It can be said that both groups access digital content in a number of ways, with the younger group being more selective and more aware of different delivery methods, perhaps indicated by the greater disparity in the services and methods of consumption they chose. Within this younger group, extensive different ways of acquiring digital music were referenced, including demonstrable evidence of LeonhardÊ ¼s (2008) Ê »feels like freeÊ ¼ streaming services such as Spotify and Last.fm. The following extract is taken from the opening stages of the younger focus group; MarT: Spotify, mainly. Youtube too, but there is much less music on there now and when you find something you like it gets deleted after a while for copyright stuff. Spotify have made it so easy and if they have pretty much everything so you can just go there, and if you canÊ ¼t find it aint on Spotify there might be a live version or something on Youtube but the quality is always ropey. The only bad thing about Spotify is that you get ads but its still free and its much safer than downloading audio files. Steve: Everything is so joined up on Spotify, like suggested artists and playlists and stuff, I spose its similar on Youtube, you can spend hours exploring. Claire: And you dont have to buy anything or give your card details over. Similarly both artists are avid users of Spotify amongst other streaming services: Gecko: I know the money is peanuts for getting played on there but it makes you accessible to so many people, some of them dont have enough money to pay for your album or your mp3 or whatever but the fact that they can still access it is important to grow as an artist. Its like playing a gig and barely making the petrol money to get home. We all do it but some of us are a bit more relaxed about the good it does for us. Biometrix: I use Spotify all the time, really its stopped me stealing a lot of music really. Its so much easier than actually downloading something so normally I just do that because I cant be bothered finding what I want and then waiting on it to arrive on my computer. Clearly Spotify offers an innovative model that can fit into both of MyÃ… ¡kaÊ ¼s (2009) subscription service model categories. A monthly fee can be paid to allow listeners to enjoy uninterrupted music without advertising and also allow access to feature rich content such as mobile streaming and offline listening, as well as Leonhards (2009) Ê »feels like freeÊ ¼ model that is funded by advertising. Of the myriad methods of media access identified, use of Web 2.0 music consumption models such as Spotify demonstrates a fall in favour of traditional peer to peer networks, contrary to the testaments of the recording industry (Siwek, 2007.) This goes some way to enforce the claims of Leonhard (2009) that these new, lawful access streams provide an attractive alternative to illegal downloading and also allay industry concerns about copyright protection. The interview subjects also cited the simplicity of these new methods in allowing them to locate music without the extensi ve searching that is commonplace with peer to peer access to media. Engagement with File Sharing: In this section, we assess the subjects involvement with the file sharing. I present rationalisation of the participants use or otherwise of file sharing networks and investigate their understandings and interactions with the legal ramifications of such actions. As the conversation developed, unexpectedly within the older group, many of the participants had used peer to peer services in the past, whilst perhaps their usage was limited, responses seemed mixed. Shaun: IÊ ¼ve used Megaupload in the past Yeah. Subscribed to that. We didnt download without our subscription, but now lapsed, I dont about the kids but yeah, Megaupload. I used to et a lot of other stuff there like films and ebooks so it was great. We can see that the participants have an understanding of file sharing as a concept, if not perhaps the finer points of nodal networking. There is an inference that by purchasing a subscription the subject considers themselves to have bought their downloads. This is however false and the subscription simply provides faster download speeds. The artists had a more sophisticated understanding of how rights related to downloading and sharing content, however it is notable that this greater insight did little to dissuade them from partaking in file sharing. Biometrix: Yeah I do download stuff, not as much as I used to but if theres something I cant find on Spotify or Soundcloud or that stuff then I will just go on a torrent site but I feel bad about it, I reckon, well I reckon because I think about what it would be like if the musicians were like me, just starting out or something. The guilt mechanism in this response shows a belief that the RIAA/BPI position is correct and that the copyright issues surrounding this kind of media access is universally illegal. This shows some support for the industry having a direct influence over peoples online interactions despite their diminished market share. One of the artists in particular also uses p2p sharing to promote and distribute their own material. Biometrix: I try to make a couple of free songs every month and put them on soundcloud for people to download. Its pretty much a thanks to all the people on Facebook, Soundcloud and Youtube who like my music and keep my profile hits high. I know theyre on the torrent sites but I dont mind, they were free anyway. This positive use of filesharing allows the artist greater exposure with virtual nil as an overhead, undercutting the top-heavy music industry and presenting the egalitarian model favoured by McLeod (2005). Responses to Legal Issues Industry Implications; This section aims to build on the responses in the previous section by filling out the subjects understanding of the legal issues involved with file sharing. Particularly noticeable in these answers is the difference between the artist and audience categories. As mentioned earlier there have been many examples of litigations against providers of p2p services, such as the media-circus trial of Ê »The Pirate BayÊ ¼ founders. Whilst the audience groups had little knowledge of such cases the artists seemed far better versed in what was going on within the industry to shape the distribution of music. Biometrix: Yeah, IÊ ¼ve know a lot about it actually The pirate bay have been found guilty of copyright abuse and theyre appealing their jail term now I think. Its a pretty big deal, all of the big film companies have been after them. The site is still going though, so it doesnt seem to have done much good does it? Gecko: Pirate bay is huge. Its not just pirating things, they do all sorts, politics and freedom of speech stuff and all of that. I think it was started by activists but I dont know whos involved nowadays. As soon as something gets taken off it seems to come straight back up. Loads of people use it. Infringement and theft are put forwards by McLeod as tactics to enforce the monopoly of the recording industry. Of the subjects opinions on the significance file sharing has for the music industry, the various subjects displayed an array of responses. The following extracts are taken from the older subjects; Dominic: Small bands dont have a bean basically. Those are the people you are robbing off, not the execs or anything. Emma: They must be getting paid somehow, the music is still out there. Robert: But the money doesnt go to the band. This passage underlines the fact that members in this group believe that the majority of income for musicians, particularly less prolific artists, is provided by their record sales. This understanding of the revenue streams available to music industries also demonstrates a finely tuned understanding of what the Ê »music industryÊ ¼ entails. Williamson and CloonanÊ ¼s (2007) arguments against the wide spread use of the term, based on my findings, suggest older generations are indeed more inclined to understand the term equating to the recording industry. The actions of the recording industries and the responses from audiences can be seen as an example of Michel de CerteauÊ ¼s idea of Ê »strategies and tacticsÊ ¼ (1984). The strategies of the power structures within the relationship, in this case, the industries retention of traditional retail models and the discourse that it equates to the music industry (BPI, 2009), in contrast to the tactics of audiences. This investigation finds between age demographics the response tactics identifiable and noticably different. The older group creates their own space through a sceptical approach to recording industry practices, methods of media access and opinion demonstrate stronger ties with the recording industry discourse crime and punishment. The both the artists and younger group members seemed much more separated from these established means of operation, shown in their symRobhy for file sharing, anti-corporate comments and reluctance to trust established regulations regardin g copyright infringement. Based on the findings outlined above, the suggestion is that audiences are highly aware that there are legal implications surrounding the sharing of files, but their opinions and responses to the validity of these implications are generationally split. The evidence provided by the younger demographic of both audience and artists provides support for the views of McLeod (2005) whereas the older group demonstrated a much more accepting response for the necessity of copyright legislation as a protection against theft. Applying music retail and commerce theories presented by Anderson (2006) and Dubber (2007), most of the participants appeared to be informed of the changes online distribution was experiencing, although there was rejection of the industrys reluctance to develop progressive content access agreements along with them. The divergence of opinion in the application of rights enforcement between the two groups adds weight to the arguments presented by Garofalo (2003), acting to s et the balance between the two sides of the rights argument, preventing the financial exploitation of free music, whilst also managing a free channel of access to consumers. Conclusion It can be established from the results of my investigation that audience and artist opinions are divided on the justifications for rights protection and the enforcement thereof in relation to digital music access. Whilst there is clear evidence of a move towards digital media consumption, there is a distinct generational gap in the manner in which different age groups access music digitally. Older generations seem to fall into line with traditional models of product capitalisation, purchasing physical formats and viewing transgression of copyright online as theft. Younger subjects more immersed in digital media and having grown up during the internet gold rush have a far less strict attitude to the acquisit