Architecture Definition Includes Construction & Design

Architecture Definition Includes Construction & Design What is architecture?  The word architecture can have many meanings. Architecture can be both an art and a science, a process and a result, and both an idea and a reality. People often use the words architecture and design interchangeably, which naturally broadens the definition of architecture. If you can design your own career goals, arent you the architect of your own life?  It seems there are no easy answers, so we explore and debate the many definitions of architecture, design, and what architects and social scientists call the built environment. Definitions of Architecture Some people think architecture is like pornography - you know it when you see it. Everyone may have an opinion and an elegant (or self-serving) definition for architecture. From the Latin word architectura, the word we use describes the job of an architect. The ancient Greek arkhitekton was the chief builder or master technician of all craftsmen and artisans. So, what comes first, the architect or the architecture?   architecture 1. The art and science of designing and building structures, or large groups of structures, in keeping with aesthetic and functional criteria. 2. Structures built in accordance with such principles.- Dictionary of Architecture and Construction Architecture is the scientific art of making structure express ideas. Architecture is the triumph of human imagination over materials, methods, and men to put man into possession of his own earth. Architecture is mans great sense of himself embodied in a world of his own making. It may rise as high in quality only as its source because great art is great life. - Frank Lloyd Wright, from the Architectural Forum, May 1930 It is about creating buildings and spaces that inspire us, that help us do our jobs, that bring us together, and that become, at their best, works of art that we can move through and live in. And in the end, that is why architecture can be considered the most democratic of art forms. - 2011, President Barack Obama, Pritzker Architecture Prize Ceremony Speech Depending on the context, the word architecture can refer to any man-made building or structure, like a tower or monument; a man-made building or structure that is important, large, or highly creative; a carefully designed object, such as a chair, a spoon, or a tea kettle; a design for a large area such as a city, town, park, or landscaped gardens; the art or science of designing and building buildings, structures, objects, and outdoor spaces; a building style, method, or process; a plan for organizing space; elegant engineering; the planned design of any kind of system; a systematic arrangement of information or ideas; and the flow of information on a web page. Tensil Architecture at Denver International Airport. George Rose/Getty Images (cropped) Art, Architecture, and Design In 2005, the artists Christo and Jeanne-Claude implemented an idea, an art installation in New York City called  The Gates in Central Park. Thousands of bright orange gates were placed throughout Central Park, the great landscape architecture of Frederick Law Olmsted, erected as designed by the artistic team. Of course, The Gates is art, because what else would it be? wrote art critic Peter Schjeldahl at the time. Art used to mean paintings and statues. Now it means practically anything human-made that is unclassifiable otherwise. The New York Times was more pragmatic in their review called Enough About Gates as Art; Lets Talk About That Price Tag. So, if a man-made design cant be classified, it must be art. But if its very, very expensive to create, how can it be simply art? Depending on your perspective, you might use the word architecture to describe any number of things. Which of these items might be called architecture - a circus tent; a sports stadium; an egg carton; a roller coaster; a log cabin; a skyscraper; a computer program; a temporary summer pavilion; a political campaign; a bonfire; a parking garage; an airport, bridge, train station, or your house? The list could go on forever. The Architecture of the Car Park, 2010, by Herzog de Meuron, 1111 Lincoln Road, Miami Beach, Florida. Roger Kisby/Getty Images What Does Architectural Mean? The adjective architectural can describe anything related to architecture and building design. Examples are abundant, including architectural drawings; architectural design; architectural styles; architectural modeling; architectural details; architectural engineering; architectural software; architectural historian or architectural history; architectural research; architectural evolution; architectural studies; architectural heritage; architectural traditions; architectural antiquities and architectural salvage; architectural lighting; architectural products; architectural investigation. Also, the word architectural can describe objects that have a strong shape or beautiful lines - an architectural vase; an architectural sculpture; an architectural rock formation; architectural drapery. Perhaps it is this use of the word architectural that has muddied the waters of defining architecture. When Does a Building Become Architecture? The land is the simplest form of architecture, wrote American architect Frank Lloyd Wright (1867-1959), implying that the built environment is not exclusively man-made. If true, are the birds and the bees and all builders of natural habitats considered architects - and are their structures architecture? Architect and journalist Roger K. Lewis (b. 1941) writes that societies tend to value most a structure that transcends service or functional performance and that are more than mere buildings. Great architecture, writes Lewis, has always represented more than responsible construction or durable shelter. Artfulness of form and artistry of building have long been the dominant standards for measuring the extent to which human made artifacts are transformed from the profane to the sacred. Frank Lloyd Wright claims that this artistry and beauty can only come from the human spirit. Mere building may not know spirit at all, Wright wrote in 1937. And it is well to say that the spirit of the thing is the essential life of that thing because it is truth. To Wrights thinking, a beaver dam, a beehive, and a birds nest may be beautiful, lower forms of architecture, but the great fact is this - architecture is simply a higher type and expression of nature by way of human nature where human beings are concerned. The spirit of man enters into all, making of the whole a godlike reflection of himself as creator. Apple Headquarters Designed by Norman Foster in Cupertino, California. Justin Sullivan/Getty Images So, What Is Architecture? Architecture is an art bridging the humanities and the sciences, says American architect Steven Holl (b. 1947). We work bone-deep in Art - drawing lines between sculpture, poetry, music and science that coalesce in Architecture. Since the licensing of architects, these professionals have defined themselves and what they do. This hasnt stopped anyone and everyone else from having an opinion with no one architecture definition. Sources Gutheim, Frederick ed. Frank Lloyd Wright On Architecture: Selected Writings (1894-1940). Grossets Universal Library, 1941, p. 141Harris, Cyril M. ed. Dictionary of Architecture and Construction. McGraw- Hill, 1975, p. 24Holl, Steven. Five Minute Manifesto. AIA Gold Medal Ceremony, Washington, D.C. May 18, 2012 Lewis, Roger K. Introduction. Master Builders, Diane Maddex ed., National Trust for Historic Preservation, Wiley Preservation Press, 1985, p. 8McIntire, Mike. Enough About Gates as Art; Lets Talk About That Price Tag. The New York Times, March 5, 2005, www.nytimes.com/2005/03/05/nyregion/enough-about-gates-as-art-lets-talk-about-that-price-tag.htmlSchjeldahl, Peter. Gated. The New Yorker, February 28, 2005, https://www.newyorker.com/magazine/2005/02/28/gatedWright, Frank Lloyd. The Future of Architecture. New American Library, Horizon Press, 1953, pp. 41, 58-59

What is a Motif †Definition and 10 Must-Know Examples

What is a Motif s What is a Motif? Definition and 10 Concrete Examples from Literature Let's just admit it: â€Å"What is a motif and how do you use it?† is a much less sexy question to ask than, â€Å"What’s your book about?†But it’s just as necessary. If the theme of a book is its heartbeat, then motifs in literature are the vessels that keep the blood coursing through the narrative. Among other things, motifs add depth to your writing and steer readers toward your book’s central message (assisted by other strong literary devices).In this post, we’ll look at what a motif is (and what it is not), examine motif examples in action, and explore how you can incorporate motifs into your own writing.What is a motif?A motif is a recurring narrative element with symbolic significance. If you spot a symbol, concept, or plot structure that surfaces repeatedly in the text, you’re probably dealing with a motif. Motifs  must be related to the central idea of the work and they  always end up reinforcing the author’s overal l message.But how can you tell which ones are motifs? Remember that you must be able to connect a motif to the "big ideas" in a book. Just because the narrator mentions a particular pair of shoes a few times, doesn’t necessarily mean that it’s a motif - unless the author makes a point of tying it to a bigger question of, let’s say, escape and freedom. (Don’t worry - we’ll provide more concrete motif examples in a bit!)Since they’re repeated throughout a text, motifs are also very traceable. As you're trying to figure out the motifs of a given work, it might be useful to think of them as having a trail of purposeful clues. The author plants these breadcrumbs so that the reader can better work out the ideas behind the work - and its overarching point.That brings up our next question: how do motifs relate to themes? Luckily, we've got the answer for you right here!Motifs support a book's theme How to Create a Character Profile: the Ultimate Guide (with Template) Read post If you need help developing your characters to that point, here are some character development exercises and a free character profile template for your personal use.Option 3: FreewriteIf you’re itching to nail down your motifs before you start writing, but aren’t feeling inspired, consider freewriting. This is the practice of writing down all of your thoughts without stopping for a certain period of time - usually between 10-20 minutes.To tease out your motif, try to start off by freewriting about your theme. When you’re done, go back and see what ideas or symbols surface repeatedly in the exercises. You might be surprised at what your mind produces when the block of self-editing is removed!4. Know that motifs are here to help, not hinderLike themes, motifs are there to help you write your book (and help readers understand them)! If you let them, motifs will add a valuable layer of depth to your story. So don't be afraid of them - let the motifs come to you nat urally as you're writing or planning. You'll find that your themes will thank you for it.How do you approach motifs in your stories? Do you have any more questions or thoughts on the subject? Leave them in the comments below!

Business Challenges in the 20th Century Essay Example | Topics and Well Written Essays - 1250 words

Business Challenges in the 20th Century - Essay Example Companies are often channel their efforts in taking overcoming the threats while taking advantage of the opportunities present in their environment. Thus, the proper and thorough assessment of the challenges faced by business entities should start with an adequate audit on their environment. This paper will look at three major challenges faced by business organization. It will accomplish this t ask by making a general assessment of the current business landscape. The paragraph that follows will be a glance at the business arena. This will be followed by the specific issues and challenges revealed and how they can be properly addressed. According to Philip Kotler (2005), one of the "megatrends" which is needed to be considered by business organizations is a major economic force called hypercompetition, which is characterized as "a period where the rate of change in the competitive rules of the game are in such flux that only the most adaptive, fleet, and nimble organizations survive (D'Aveni 1994)." It is irrefutable that this trend is one of the most important factor affecting the performance and strategies of business entities. As they operate in a hypercompetitive environment, they need to cope with its various features such as more intense rivalry, higher buyer leverage, and integration of international market. These three major challenges are further examined in the following sections. Challenge 1. More Intense Rivalry As more and more players recognize that potential markets with high profit gains and acquire technologies for an efficient operation, they intensify their efforts to conquer their target markets. It is apparent how business organizations are currently battling head on for higher market shares. More efficient technology in firms' value chains enable them to drive down prices. Aside from price wars, companies also compete on the quality and features of their specific products. As the world is becoming a global village, this situation is even exacerbated by the threat of competition from foreign firms. More in tense rivalry is becoming a major concern among competing industry players. Higher competition forces firms to develop a more efficient business model and strategy. Sometimes, these may even lead to the failure and bankruptcy of a firm. Higher competition tends to shake off inefficient players leaving only those with sustainable competitive strategies. In the face of more intense rivalry, industry players need to focus on crafting a strategy which will mitigate competition with other companies. It is also important that a firm embark on a stronger effort of defining and enhancing its position in the particular market. For example, a hotel company can further realign its strategy with its goal by looking at what it wants to achieve. The company can pursue a differentiation strategy to differentiate itself from its rivals. It is irrefutable that even though two companies offer the same product, customers often perceive huge differences in the way the companies craft their marketing mix. A hotel company can either focus on offering low priced and convenient accommodation or may opt to adopt a strategy of charging prices justified by excellent customer service. It should also be noted that warding

Comparison and contrast essay Example | Topics and Well Written Essays - 750 words - 3

Comparison and contrast - Essay Example Comparatively, these cities offer great life experience but it is not very easy to choose one when it comes settlement. Both are distinguished by their weather, factors such as entertainment and housing. Weather is one big different issue between these two cities. Seattle and Houston have calm weather conditions in the months of April and May. Seattle at times records up to four feet of snow but this is very rare in Houston which can witness only about one centimeter of snow in 25 years. When it snows in Seattle, it is really terrible since it does not only stop after a few inches but can even last longer where building a snowman is never a problem. Seattle also records plenty of rainfall such that it has come to be commonly known as the Rainy City. It can also be noted that Seattle experiences Mother Nature’s storms called tornadoes, which are mixed with hail, high winds that rip houses apart and cause other trail of destruction to infrastructure. The temperatures in Houston are moderated by the influence of the Gulf of Mexico and this results in mild weather conditions and it does not experience rain storms. Houston has warm weather and humidity is high especially during th e summer. Houston often experiences hurricanes during every summer with the high winds and heavy rain fall that can cause power outage for days and even weeks at a time and this make life miserable without drinking water and air conditioning. The geographical location of these two cities is a major factor when it comes to entertainment and sporting activities. In Seattle for instance, there are different kinds of entertainment activities that Houston cannot offer. Seattle is a quieter and more relaxed city that offers European relaxed ambience. Seattle is known for wonderful snow skiing and ice skating. There are several state recognized tournaments where some of them even attract European competitors. Seattle also has very

Performance Management Framework Essay Example for Free

Performance Management Framework Essay Mr. Stonefield is starting his own business in Austin, Texas, called Landslide Limousine Service. One of the fundamental elements to building this new business venture is creating a framework for performance management. The framework must include necessary employee job skills, the methods used for measuring these skills, the process for addressing skill gaps, and the approach for delivering effective performance feedback. It is important to understand how the performance management framework (PMF) aligns to the organizational business strategy. Mr. Stonefield previously stated he wants to provide first-class transportation to his customers. His goals are realistic for the first year with an anticipated -$50,000 in revenue, and 10% turnover. The success of the business’s performance management will ensure there will not be any additional lost revenue, and turnover stays at, or under target. The goals set in place lay the foundation for the future of this company, and a clearly defined PMF will foster highly engaged employees and lead to continual revenue growth. It is imperative Mr. Stonefield’s employees have the necessary job skills to allow Landslide Limousine to achieve its goals and gain a positive reputation. A job analysis is â€Å"The process of obtaining information about jobs, including the tasks to be done on the jobs as well as the personal characteristics necessary to do the tasks† (Cascio, 2013, p.690). Mr. Stonefield has elected Atwood and Allen Consulting to conduct the job analysis process to identify the skills his employees will need. The job analysis process, or in this case, processes, have been identified, but additional time is required to act out these processes. The first process is observation. â€Å"The analyst simply observes a worker or group of workers doing a job. Without interfering, the analyst records Team Reflection: Performance Management In week 4 Team â€Å"D† reviewed and discussed the following information and how it applies to Landslide Limousine. Alignment of the performance management framework to the organizational business strategy, organizational performance philosophy, the job analysis process completed identifying the  skills needed by employees, methods used for measuring an employees skills, process for addressing skill gaps, approach for delivering effective performance feedback. Alignment of the performance management Aligning the structure of the performance management plan with the business strategy is a key element for its success. For Landslide Limousine Services, it was previously communicated that this strategy entailed providing first class transportation to its customers. Its prospective goals indicate a $50,000.00 first year net revenue, a 5% net revenue increase over the first few years, and a turnover rate of approximately 10%. In order to achieve the realistic goals set and for the business strategy to be met, you must consider what it would take to reach them. Understanding that employee loyalty will be an asset to the business is a good start. This means developing a flexible framework that expresses the companys culture and shows managements commitment to developing a strong team of employees. Providing the right training opportunities is essential for meeting business objectives. Many companies just go through the motions of a performance management plan without fully evaluating the needs of the employees to develop their morale and commitment in return. In order to provide first class transportation to its customers, opportunity for development in this area with the proper guidance and encouragement will engage employees in the direction of the companys strategy. Organizational performance philosophy Every business and its culture differ from one Introduction Creating a performance management framework ensures that Clapton Commercial Construction will achieve its business venture goals. A critical tool for a company is its performance management. It gives the employees an opportunity to succeed and for the organization to prosper. Outlined are recommendations that we here at Atwood and Allen consulting feel should be utilized to maximize the potential this company has. Performance Management For any business to be successful it is imperative that they implement a  performance management framework. This structure must be effective for the company to meet its goals and ensure that internal decisions are made based on the work performance of its employees. The performance management framework aligns with the business strategy because the structure is created based on the goals and vision of the business. Recommendations Clapton Commercial Constructions desire is to deliver quality top notch construction and customer service. A clear vision and realistic goals are needed to target areas of improvement. An effective performance management framework ensures consistency in reviews and brings the business success they are anticipating. It is recommended that Clapton Commercial promote growth by making sure that all employees are properly trained and feedback be analyzed from the employees and customers. The job analysis is an in-depth study of the position. It provides information for job descriptions (Job Analysis-Human Resources Management for Employers, 2011). We recommend that the employees be involved by completing a job analysis form, this is a way of collecting information about the work. Interview the employees by asking them specific questions about their job duties and make a list of the specific task performed. Also, identify the experience, education, and training levels PERFORMANCE MANAGEMENT SYSTEM ABOUT PERFORMANCE MANAGEMENT SYSTEM Performance Management involves the entire gamut of processes in identifying critical dimensions of performance setting work plans against laid down objectives, reviewing the work done against indicators of performance and developing and enhancing competencies for improved performance. THEORGANIZA TIONAL GOAL PROVIDES THE PERSPECTIVE TO DETERMINE THE DEPARTMENTA L (REGION/ THEME/UNIT) GOAL WHICH IN TURN PROVIDES THE CONTEXT FOR AN PROCEDURE FOR EFFECTIVE PERFORMANCE MANAGEMENT SYSTEM An effective Performance Management System should be based on :a) Setting up Key Result Area (KRAs) for the Region/Theme/Unit/ Department b) Clarity of Individual Roles and Responsibilities c) Laying down Plans and Performance  Indicators for each position d) Periodic assessment of performance of the individual against such Plans/ Performance Indicators e) Identifying factors facilitating and hindering achievement of Plans development of action plans for overcoming hindering factors and strengthening facilitating factors f) Periodic review of role incumbents behavior, which contributes to effective functioning and working out action plans for developing such behavior. g) Identification of role incumbents developmental needs and preparing plans for staff development through training and related activities. h) Implementation and review. HUMAN RESOURCE MANAGEMENT: PERFORMANCE MANAGEMENT SYSTEM PAGE STAGES OF MANAGING PERFORMANCE SYSTEM : 1. Identification of KRAs (Key Result Areas)  KRA(s) for the Organisation need to be identified and collectively agreed upon. The KRA(s) for the organization will be drawn out from the Country Strategy paper (2005-2010) which has evolved through a bottom-up approach, from consultations held with over a 1000 persons, with participation from the partners and communities AAI-India works with. KRA(s) for the organization will hold good for the Performance Management Plan Performance Management Plan HRM-531 March 17, 2014 Patrice Cloutier Mr. Stonefield, I am very happy to hear that you are considering a Performance Management Plan for your business expansion in Austin, Texas. As you may know there are sound organizational payoffs for implementing a strong performance management system. Study indicates that companies with a strong management plan is likely to outperform competitors by 51% on financial measure and by 41% on nonfinancial metrics. The performance management plan for the limousine operation with 25 employees, with a net $-50k revenue, with a growth of rate 5% for the first two years and expected rate of turnover of 10% should be straight forward. Here below I am presenting to you our recommendations for a very comprehensive performance management plan. (Cascio, 2013, P.332) The first step a business must consider is alignment of performance management to the business strategy. Once you have the vision for the Limo operation in Austin, identify the drivers or Key Performance Indicators to achieve the vision. The KPIs then can cascaded down to the functional areas then to individual level. The next step in the process should be of defining goals. The process of goal setting should be a collaborative process between a manger and the employee. Once the company wide strategy is established the strategy and the goals should be shared with each employee. This is a critical step in the process. One thing to keep in mind in goal development is that the goals should be specific, measurable, achievable and timely. Specific: Well-defined to inform employees exactly what is expected, when, and how much. Measurable: Provide milestones to track progress and motivate employees toward achievement. Achievable: Success needs to be attainable with effort by an average employee, with a bit of a stretch. Relevant: The goals should focus on the greatest impact to the overall

Comparing Catcher in the Rye and Ordinary People :: comparison compare contrast essays

Ordinary People and The Catcher in the Rye      In this paper I intend to show how the loss of a brother can have the same effects on two different people like Holden Caulfield and Conrad Jarrett.   Both of their lives are turned upside down after the difficult loss of a family member.     Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   In the book Ordinary People, Conrad Jarrett has a good life and loving family when his brother dies in a sailboating accident.   Conrad feels lost and confused and he attempts to take his own life as a way out.   He spends eight months in a mental institution and when he comes out he discovered he is a completely different person and has the realization that his old definition of normality no longer applies.   A once-unified family splits into three guarded, isolated members who can no longer share anything with one another.     Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Dr. Tyrone C. Berger helps Conrad by taking him back through the death of his brother and anguish of life without Buck, his older brother and idol.   He teaches Conrad and his family that love, openly shared, is the only thing they can count on to give them strength for the test they call life.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   In Catcher in the Rye, Holden loses his brother Allie at a young age just like Conrad.   He cannot find a meaning in life afterwards.   School and friends don’t matter to him anymore and he wanders through the city of New York searching for some kind of answer.   In both books the characters are teenagers and still full of youth.   Conrad is on the swim team and participates in activities while Holden is great at English and is a keen observer of life.   After their brothers’ death they realize that they are not the same people anymore and that they have to start all over.   They are struggling just to make it through the day and to find motivation to keep going.   Conrad lays in bed in the morning thinking of a reason to get up, he tries to come up with a guiding principle to help him get through the day.   He says to himself, â€Å"It’s all right to feel anxious.   Allow yourself a couple of bad da ys now and then. (1)†   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Holden is hurt by his loss and takes a negative attitude towards life.

Insight of Plato’s Gorgias

Textual Analysis Term Paper: Gorgias As history suggests, Plato was Socrates’ prime student. Plato’s key belief was that the ultimate reality was the notion and concepts of things. His deduction was that what we see in the physical world are simply abstract representations of universal ideas. Consequently, Plato supposed, that to correctly understand reality one must transcend the physical reality into the world of ideas, which is seen in Plato’s â€Å"Gorgias. † A lot of the dialects in this piece of work are full of Socratic irony. Plato's main idea of the true ature of reality centers on the abstract perception of universals and what creates the physical reality. As Platonic Realism proposes, to be able to sensually perceive these universals, as they have no temporal traits is impossible. In â€Å"Gorgias† we are able to see through Socrates’ and Callicles’ dispute about justice, the ideas that form the foundation about what consist s to be a successful political leader. Plato recognizes the conventional meaning of pleasure as satisfaction, but to understand his view of the moral dimension behind it there is a particular framework behind the concept of eauty. In â€Å"Gorgias†, he has Socrates say that things, both concrete things such as bodies, and abstract things such as laws, and even knowledge, are beautiful â€Å"on account of either some pleasure or benefit, or both. † (Plato, p. 72) In the beginning of the discussion between Socrates and Callicles itself, Socrates mentions that the basis of their arguments will be with what they both love: philosophy ; Athenian democracy. To understand Socrates’ arguments it is foremost important to notice that he directs his arguments towards the pursuit of pleasure, as he implies it is the highest good of uman life. The difference between Callicles and Socrates on pleasure and the good is that Callicles thinks the structures of the pleasures one p ursues or the pains one avoids is futile whereas Socrates puts extra attention to these structures. Callicles and Socrates both contradict each other in this debate, nevertheless they agree on one aspect where he they Socrates says casually that â€Å"it is uglier to act unjustly than to be treated unjustly. † (Plato, p. 98) which means it is better off to be unjust than to suffer it since suffering from injustice is more agonizing than doing it. Despite the fact that Socrates admits that suffering injustice is more painful than doing it, the consequences of having pleasure from inflicting injustice are nevertheless worse. Socrates’ brings up his argument of self-control, through mentioning that suffering injustice is conflicting with happiness and doing injustice is in fact even worse than suffering it, accordingly doing injustice must also be conflicting with one’s happiness. It is because Callicles rejects self-control as being fitting with happiness, that he is forced to ignore the consequences of his actions.Therefore, to prove Callicles wrong, Socrates uses rhetoric in a way that is philosophical to guide his logic. He suggests that life without knowing the full form of pleasures, without having a knowledge of their natures, basically, what their structures are, is a life which is destined to be frustrated. It becomes a unhealthy experience to achieve happiness. Contrasting this, Callicles thinks that one can understand that suffering injustice is automatically more painful than inflicting injustice with respect to happiness. Socrates tries to convince Callicles that this thought is incorrect.Socrates’ no doubt tries to prove Callicles wrong and in this case, he mentions that one has to know the nature which implies the structure, of the pleasure of one’s pain, which is how Socrates’ emphasizes on self-indulgence. Throughout the dispute, the difference between a true and a false pleasure is that one needs to exam ine the nature of every pleasure so as to find out whether it is a true pleasure. â€Å"But still, even now, state whether you say that a pleasant thing and a good thing are the same or whether there is anything of [the things that are] pleasant that is not good? † (Plato, p. 09) If the nature of pleasure is solely based on action this is considered a bad pleasure, which we get from cooking and make-up as Socrates suggests. The first step is fought over the issue of whether all pleasures are good. Socrates thinks that only true pleasures are good whereas Callicles thinks that all pleasures whether true or false are good. The second step is fought over what is necessary for happiness. Socrates thinks that self-control is what is necessary to experience the true pleasures and to avoid the false ones; â€Å"[†¦] it is possible for a man who is distressed to feel joy. † Plato, 113) This presents why many would call some pleasures bad is that they lead to such things a s sickness and poverty, which inevitably lead to pain. The basis on which this is important is because Socrates gets Callicles to agree that a person's body is good if it has the structure appropriate to it, which is in this case, health. Socrates has a deep meaning to it since he mentions that having a healthy body is nothing without the soul, rather that it represents what the body is for. Therefore, when Socrates claims that the soul is good if it has the order and structure appropriate to it, that s, justice and self-control, he is claiming how the soul is good and not just what the soul is for. â€Å"And so examine first whether these things seem to you to have been sufficiently and whether there are some other such matters concerning the soul, some having to do with technical skill [†¦] but others that make small account of [what is best]; and consider in turn, just as [in the case of cooking], only the pleasure of the soul [†¦]. † (Plato, 123) Therefore, if t he soul has the virtue appropriate to a soul, that person will be, in due course happy. If the soul cannot do this, nd does not have the virtue appropriate to a soul, that person will be miserable. As mentioned earlier, Socrates argues that self-control is what controls one's desires and pleasures. The most important interpretation of what this amounts to would have Socrates arguing for the rational part of our soul â€Å"controlling† the desires. self-control is, ultimately self- control, which implies that naturally, it is impossible for the self-controlled person to do what is not apt. Where the dialect would overlap is if the soul is not able to attain happiness, unless of course, it has structure and order which is known as self-control, then Socrates ill have proven that not only does it fit with happiness but that it is equally necessary for happiness and if Socrates supports the opposite of this argument, it would automatically support what Callicles’ argues. C allicles’ love for â€Å"demos† may at some point be portrayed as being anti- conventional. Callicles mentions that the democracy and its laws is a way to control the stronger people, the weak people wanted to unite as one to overthrow the people bestowed with higher power. Callicles’ position on the relationship between the powerful and the normal people turns out to be most definitely conventional, which explains why he has uch love for the population, which may bias his political leadership. What Socrates had basically done was to enslave Callicles into a web of words. Socrates used Callicles’ belief of â€Å"demos† but also polis law, pleasures, and desires' to thrust Socrates’ ideas on Callicles. For example, if we take Socrates’ technical approach, any common person would assume that in pursuing pleasure, Callicles is not doing what he wants, â€Å"[†¦] pleasant is different from the good, and that each of the two has its own concern and method of possessing [it] – the hunt for the pleasant and the hunt for the good [†¦]. (Plato, p. 122)According to that passage, we all want what is truly good, but the pleasures that seem good to Callicles are not those that are essentially good, so pursuing pleasure is not what Callicles wants. It only portrays that Callicles pursues it unwillingly (Plato, p. 139). As a result, this shows that Callicles lacks the ability to do things as per his wish, which eventually Callicles is what we can label a â€Å"slave† or even in the context of this work a lover of the people. Kreon from the Antigone would agree with Socrates, as he would remain adamant about proving his point as Socrates is doing in his dispute with Callicles.No matter how contradictory he may sound he would rather inflict injustice onto Antigone than being defeated by a puny little girl. â€Å"Now that I’ve caught her as the only one In all the city who openly defied me, I wonà ¢â‚¬â„¢t be seen as false to my own word By all the city – I’ll kill her. † (Sophocles, p. 82) The fact that Kreon honors his power more than morality proves that he would make sure his point came across the population and his son even if he had to go against them. His intention would only change if it benefitted himself. To conclude, one might think that the reason behind Callicles’ interpretation of eeking pleasure from his own desires may be his relationship with the people. He might consider the pursuit of their pleasure in preference to his own, and so he is their servant in the sense that he prioritizes their liking over his own. In this dispute nevertheless, Socrates does not make a flat out criticism about Callicles’ ideals instead he makes an association behind the pursuit of pleasure with serving the â€Å"demos†. They reach to somewhat of an understanding between them as they distinguish between pursuing one’s own pleasure a nd that of others never becomes an issue. Socrates characterizesCallicles’ view as that virtue is within the satisfaction of his own desires and those of others; â€Å"[†¦] that of the desires, some, being filled, make the person better, [and] these one should accomplish, but others, [being filled, make the person worse [†¦]. (Plato, p. 128). Whereas Socrates is concerned, by philosophical rhetoric he can succeed in getting his ideas through any skilled person and therefore, may be a successful political leader. Bibliography Plato, Gorgias. (Newburyport: R. Pullins Company, 2007), 23-171. Sophocles, Antigone. (New York: Oxford University Press, Inc. , 2007), 52-116.

School Trying Character Education on For Size

The role of the school is changing today. The school now must realize its role in character development. â€Å"Schools must recognize that they cannot accomplish the academic aspect of their mission if they do not attend to the needs of the whole child, and that the pursuit of a narrow academic missions alone is simply no longer sufficient†. This sentence should be a wake up call to schools today. We as teachers must understand that it is now becoming our job to develop the character of the children we teach. The character development of the child is not as strong as it once was. There are so many problems that kids are facing now. Children are now engaging in high-risk behaviors. These behaviors include alcohol, drugs, tobacco use, and violence. Children are not being taught at home the destruction that these things cause. Researchers, practitioners, policy makers, and business leaders are the ones addressing this lack of a full range of development in today†s youth. They feel that character development is as important to effective schooling as reading, math, science, or social studies. The youth will become active members of family, school community, and society as a whole. This development of character will also help them to more willingly take part in their education. Several things should be taken into consideration when we think about teaching character development. First off, we as educators must first understand what are role is and what is the purpose of schools today. Also, we have to know the students we teach. Knowing a student's home life should give us a better understanding of the type of character development they get from home. Then we must understand what to teach to help develop their character. How do we teach is the next thing we must look at How can we make this meaningful for the students, in and out of school. We need to make sure our staff is ready to teach. Finally, we need to find out where to teach. These questions are a guide for setting up a character development program. Character education helps its participants have more productive lives. It teaches the ability to distinguish between right and wrong. Character education teaches self-discipline, responsible decision making, respect for others, and a lot more qualities that help people to have healthy relationships and productive lives. When implementing a character education program, you need to follow some basic steps. Talk to the community, law enforcement, and teachers to find out some of the more dangerous problems that effect that community. Give schools the opportunity to find funds to implement a program, from business or industry. Help schools to find a model of character development from which they can get ideas and have an avenue to get questions answered.

Requisitos y medidas foto visa EE.UU. y cómo subirla

Requisitos y medidas foto visa EE.UU. y cà ³mo subirla Las fotos para las visas no inmigrantes, visas de inmigrantes y para participar en el sorteo de la loterà ­a de visas de diversidad de EE.UU. deben cumplir requisitos sobre cà ³mo debe lucir en ellas el fotografiado y medidas. Adems, en los casos en los que es necesario subir la foto al formulario de solicitud del visado, la imagen debe cumplir con los parmetros de peso, dimensiones y formato. Antes de seguir con este artà ­culo cabe destacar que no todos los solicitantes de visa para Estados Unidos necesitan sacar una foto y subirla al formulario de solicitud de la misma o llevarla en formato papel al consulado el dà ­a de la entrevista. Y es que en los casos de solicitarla en un consulado con Centro de Apoyo como CAS o ACS como sucede, por ejemplo, al solicitar la visa de turista en Argentina, Mà ©xico o Repà ºblica Dominicana, las fotos se toman en dichos centros junto con otros datos biomà ©tricos como las huellas digitales. Por lo tanto, toda la informacià ³n de este artà ­culo solamente aplica en los casos en los que las fotos no deban ser tomadas en un Centro de Apoyo. En el mismo se explican los requisitos de foto y fotografiado, tamaà ±o, peso y formato de las fotos digitales, cà ³mo saber si cumplen con los parmetros, cà ³mo modificarlos si fuera necesario y cà ³mo subir con à ©xito la foto al formulario de solicitud de la visa. Finalmente, cules son las caracterà ­sticas de las fotos en papel. Requisitos de las fotos para las visas americanas Las imgenes deben cumplir los siguientes requisitos: en color, con fondo blanco o blanco roto (off-white). La persona fotografiada, que es la que solicita la visa, debe mirar de frente a la cmara y asegurarse de que la cabeza sale centrada en la fotografà ­a y completa, desde el pelo hasta la barbilla, que debe alcanzar unas medidas de entre una pulgada y 1 3/8 pulgadas (entre 25 y 35 mm). Ambos ojos deben salir abiertos y la altura de los ojos caer entre 1 1/8 y 1 3/8 pulgadas del fondo de la fotografà ­a ( entre 28 y 35 mm). Para asegurarse de que se cumplen las especificaciones es recomendable familiarizarse con ejemplos que cumplen estos requisitos. No puede vestirse ningà ºn tipo de uniforme, salvo el religioso como por ejemplo en el caso de sacerdotes y monjas. Tampoco se deben llevar gorros, sombreros, velos o cualquier otra prenda u objeto que dificulte la vista del pelo, salvo que su utilizacià ³n està © justificada por motivos religiosos. Si habitualmente se utilizan audà ­fonos no es necesario quitarlos para sacar la foto si se tiene la precaucià ³n de evitar que se produzcan reflejos en los cristales. Sin embargo, en la actualidad si se usa espejuelos o lentes es necesario quitarlos, salvo cuando no sea posible hacerlo por razones mà ©dicas. En ningà ºn caso la oficina consular aceptar como vlidas fotos de mala calidad o que son el producto de haber escaneado la foto de un I.D., como por ejemplo una licencia de manejar. Tampoco son vlidas aquà ©llas en las que la persona sale de cuerpo completo. Dà ³nde tomar las fotos para la visa americana Si se est en Estados Unidos, en cualquier negocio de fotografà ­a que saquen fotos para el pasaporte americano. Lo mismo puede decirse de otros paà ­ses. En este caso es imprescindible hablar con el fotà ³grafo y especificarle los requisitos de fondo blanco, tamaà ±o, mirada al frente, etc. Incluso, si reà ºnen los requisitos, es posible hacerlo con un telà ©fono mà ³vil o una webcam. En estos casos, asegurarse de cumplir todas las directrices mencionadas y que la foto tiene calidad suficiente. Si la foto debe subirse al formulario de solicitud de la visa y no est ya digitalizada puede escanearse con una resolucià ³n de 300 pixeles por pulgada (12 pixeles por milà ­metro). Se puede enviar por correo electrà ³nico para descargarla en la computadora en la que se va a realizar el trmite de solicitud de la visa. Medidas, peso y formato de las fotos digitales para la visa americana. En los casos en los que la foto debe subirse al formulario de solicitud de la visa aparece la expresià ³n Photo Upload en dicha planilla. En estos casos, la imagen debe tener las siguientes caracterà ­sticas Tener una dimensià ³n mà ­nima de 600 x 600 pixeles (ancho x largo)En color de 24 bits por pixelSà ³lo se admite el formato JPEG.Y el tamaà ±o del archivo ha de ser de 240 kb o menor. Si es necesario, puede comprimirse con una proporcià ³n de 20 a 1 o menor. Se puede verificar si la foto cumple con esos parmetros colocando el cursor sobre ella y clickando con el botà ³n derecho del ratà ³n. Se abre la ventana de propiedades y, en la etiqueta de General puede verificarse el tamaà ±o en KB. En la etiqueta de Detalle puede comprobarse el alto y ancho de la imagen. Si no cumpliese con los requisitos seà ±alados anteriormente, es posible cambiarlos utilizando un programa. Para hacerlo, si se tiene una computadora con el sistema operativo Windows colocar el cursor sobre la imagen, hacer click con el ratà ³n derecho y en Abrir con elegir Paint. Checar la Barra de Estatus y asà ­ es posible ver la informacià ³n de la foto en la parte inferior de la misma. A continuacià ³n, para ajustar la foto a los parmetros necesarios clickar en el icono de Seleccionar para cambiar el alto y ancho de la foto. Una vez que en la barra de estatus se obtienen los nà ºmeros que se buscan clickar en Guardar y elegir como formato JPEG y a continuacià ³n en Guardar como, dale un nombre y guardar. Si se tiene una computadora Mac puede utilizarse Paintbrush. En todos los casos pueden utilizarse otros programas informticos de manipulacià ³n de fotografà ­a. Cà ³mo subir la foto al formulario de solicitud de la visa Cuando se est llenando el formulario de solicitud de visa el momento para subir la foto es cuando se llega a Upload Image. Se debe clickar en ese botà ³n. A continuacià ³n aparecen las directrices ya mencionadas sobre peso, dimensiones y formato. Si alguno de los parmetros no es el exigido se va a obtener un mensaje de error y, si es el formato el equivocado, un mensaje de Only JPEG Images. La solucià ³n es modificar los parmetros como se explicà ³ en el apartado anterior. Una vez que se est seguro de que todo est correcto clickar a Browse y elegir la foto. Dar a OK y aparecer la foto. En ese momento se pueden ver dos botones: Upload Again y Confirm. Clickar en este à ºltimo y dar a OK y asà ­ se sube realmente la foto al formulario y ya se puede continuar con la aplicacià ³n. Fotos 5x5 para la visa americana En algunos consulados o para algunos tipos de visas el requisito es llevar una o dos fotos a la entrevista. En este caso deben cumplir con los requisitos de fondo blanco o blanco roto, no espejuelos, mirar de frente, etc. explicados con anterioridad. Adems, la foto debe: Estar impresa en papel de buena calidadTamaà ±o de 5x5, es decir, 5 cm de ancho por 5 cm de largo, o lo que es lo mismo: 2 pulgadas por 2 pulgadas (51 x 51 mm).Si se pide ms de una foto, todas deben ser idà ©nticas. Adems, si la foto se subià ³ digitalmente siguiendo los puntos que seà ±alaba el formulario de solicitud de la visa es prudente llevar una foto de estas caracterà ­sticas tambià ©n el dà ­a de la entrevista. Para re-asegurarse de que la foto est clara y no ha habido ningà ºn problema con el sistema. Puntos Clave: fotos para visa americana Las visas no inmigrante, las de inmigrante y la loterà ­a de visas de diversidad requieren una fotografà ­a o ms del solicitante. Dependiendo del tipo de visa y/o consulado, el solicitante puede tener que presentarse a un Centro de Atencià ³n donde le tomarn las huellas digitales y la foto antes de la entrevista en el consulado.Por el contrario, si debe subirla digitalmente al formulario de solicitud de la visa o presentarla en papel en el consulado, los requisitos son los siguientes:Requisitos de la foto: en color, fondo blanco o blanco roto. El fotografiado debe mirar a la cmara, con los ojos abiertos y sin gafas ni sombreros o gorras. La excepcià ³n son los velos religiosos, por ejemplo, los de las monjas.Parmetros digitales: formato JPGE, mximo 240kb y medidas de 600 pixeles de ancho por 600 pixeles de largo. Programas como Paint y Paintbrush permiten modificar los parmetros de las foto para ajustarlos a estos requisitos.Foto en papel: debe ser de buena calidad y tener un tam aà ±o de 5 cm de ancho por 5 cm de largo. Si deben presentarse dos fotos, ambas sern iguales.Dà ³nde sacar las fotos: pueden tomarse en cualquier fotà ³grafo que saque fotos para pasaporte, especificando las caracterà ­sticas que debe tener la foto. Posteriormente, si debe subirse digitalmente para subirla al formulario de solicitud de la visa, puede escanearse empleando una resolucià ³n de 300 pixeles por pulgada. Este es un artà ­culo informativo. No es asesorà ­a legal de ningà ºn tipo.

Arna Bontemps, Documenting the Harlem Renaissance

Arna Bontemps, Documenting the Harlem Renaissance In the introduction to the poetry anthology Caroling Dusk, Countee Cullen described the poet Arna Bontemps as being, ...at all times cool, calm, and intensely religious yet never takes advantage of the numerous opportunities offered them for rhymed polemics. Bontemps might have published poetry, childrens literature, and plays during the Harlem Renaissance but he never gained the fame of Claude McKay or Cullen. Yet  Bontemps  work as an educator and librarian allowed the works of the Harlem Renaissance to be revered for generations to come. Early Life and Education Bontemps was born in 1902 in Alexandria, La., to Charlie and Marie Pembrooke Bontemps. When Bontemps was three, his family moved to Los Angeles as part of the Great Migration. Bontemps attended public school in Los Angeles before heading to Pacific Union College. As a student at Pacific Union College, Bontemps majored in English, minored in history and joined the Omega Psi Phi fraternity. The Harlem Renaissance Following Bontemps college graduation, he headed to New York City and accepted a teaching position at a school in Harlem. When Bontemps arrived, the Harlem Renaissance was already in full swing. Bontemps poem The Day Breakers was published in the anthology, The New Negro in 1925. The following year, Bontemps poem, Golgatha is a Mountain won first prize in the Alexander Pushkin contest sponsored by Opportunity. Bontemps wrote the novel, God Sends Sunday in 1931 about an African-American jockey. That same year, Bontemps accepted a teaching position at Oakwood Junior College. The following year, Bontemps was awarded a literary prize for the short story, A Summer Tragedy. He also began publishing childrens books. The first, Popo and Fifina: Children of Haiti, was written with Langston Hughes. In 1934, Bontemps published You Cant Pet a Possum and was fired from Oakwood College for his personal political beliefs and library, which were not aligned with the schools religious beliefs. Yet, Bontemps continued to write and in 1936s Black Thunder: Gabriels Revolt: Virginia 1800, was published. Life After the Harlem Renaissance In 1943, Bontemps returned to school, earning a masters degree in library science from the University of Chicago. Following his graduation, Bontemps worked as the head librarian at Fisk University in Nashville, Tenn. For more than twenty years, Bontemps worked at Fisk University, spearheading the development of various collections on African-American culture. Through these archives, he was able to coordinate the anthology Great Slave Narratives. In addition to working as a librarian, Bontemps continued to write. In 1946, he wrote the play, St. Louis Woman with Cullen.   One of his books, The Story of the Negro was awarded the Jane Addams Childrens Book Award and also received the Newberry Honor Book. Bontemps retired from Fisk University in 1966 and worked for the University of Illinois before serving as curator of the James Weldon Johnson Collection. Death Bontemps died on June 4, 1973, from a heart attack. Selected Works by Arna Bontemps Popo and Fifina, Children of Haiti, by Arna Bontemps and Langston Hughes, 1932You Cant Pet a Possum, 1934Black Thunder: Gabriels Revolt: Virginia 1800, 1936Sad-Faced Boy, 1937Drums at Dusk: A Novel, 1939Golden Slippers: An Anthology of Negro Poetry for Young Readers, 1941The Fast Sooner Hound, 1942They Seek a City, 1945We Have Tomorrow, 1945Slappy Hooper, the Wonderful Sign Painter, 1946The Poetry of the Negro, 1746-1949: an anthology, edited by Langston Hughes and Arna Bontemps, 1949George Washington Carver, 1950Chariot in the Sky: a Story of the Jubilee Singers, 1951Famous Negro Athletes, 1964The Harlem Renaissance Remembered: Essays, Edited, With a Memoir, 1972Young Booker: Booker T. Washingtons Early Days, 1972The Old South: A Summer Tragedy and Other Stories of the Thirties, 1973

A Personal Manifesto on Success and Happiness Research Paper

A Personal Manifesto on Success and Happiness - Research Paper Example As the paper declares work as a noun defines an activity involving mental or physical effort done in order to achieve a purpose or result. Another conception of the word work is that it is an activity as a means of earning income or employment. From these two concepts of work can be drawn different perceptions. Work as merely an act of doing something productive and work as an activity that generates income such as employment. The latter concept of work suits the definition that is widely known by most people. Having a job, an employment, running a business, all these are confined in the context of work that has an end goal of making money, salary, income or profit. According to the report findings the history of work is far rooted in the history of mankind. How work is viewed today is a byproduct of human experiences along the path of historical milestones of men. The concept of work can be traced back even into the realms of the Bible. God said to Adam, "In the sweat of thy face shall thou eat bread, till thou return to the ground". Even in the beginning according to the Bible, God assigned the allegedly first ever work to Adam. Work then can be described as some activities that need sweating in order to eat. In that sense it would tilling the soil and planting and growing plants to bear fruits to eat. Work then spells really hard work and is contrasted with leisure as Adam Smith puts it as toil and trouble. Thus leisure is a different story from work that is why according to the bible God blessed the seventh day and sanctified it: because that in it he had rested from all his work. (Genesis 3:19 as cited by Dupre and Gagnier). If to rely alon e from the following context it can be concluded that God wants people to work really hard during work days and set a separate day for leisure which is somewhat deviated from the modern context of work that can go along with play—having fun while working all at the same time. People of yesteryears works comparatively different than modern people does work. The work they knew then was more on physical exertion. Tracing back the first humans, they did not work in the way that we understand it today. Primitively like before, our ancestors spent much of their time searching for food and shelter, a short-term and endlessly repeated process that was necessary for survival (The Readers Digest Australia). This repeated process lead to the definition of work division wherein some are hunters and others are gatherers and basically women do the cooking for the whole group to survive and move on. Work in this essence brings definition to food and survival. The idea of the working day is a product of