Political Economy (Theories of Late Capitalism) Essay - 1

Political Economy (Theories of Late Capitalism) - Essay Example American economy, also, is no exception to it. For instance, after The World War-2, America emerged as economic giant because of rapid progress in different fields, but hardly a decade had passed that The US confronted Great Depression. It was asserted that stock market collapse was the major cause of the great depression and â€Å"as the consequence of this stock market collapse, an unparalleled depression overtook United States† (Majumdar et al 234). The way America made achievements during era of industrialization and during the World War-1; she could not withstand stock speculation and its ultimate consequences. Leading points for the United States’ rise to power. America with its progressive policies marked its existence as economic giant and witnessed economic boom once again after decade of Great Depression was over and particularly in the post World War 2 era. The leading points which led to the rise of American economy initially include many things. To begin with America gave suppleness in taxation. It made taxation as easy as possible. Secondly, it applied theories of monetary pull and occupied employment financial plan. Thirdly, it included in its economic policy to include quantitative targets for the economy. Fourthly, a growth model of economy was put into practice rather than earlier cyclical model which allowed just transaction of the same. Finally, substitute of the impression of being without a job as a structural predicament by a consciousness of a low down combined stipulate. Mechanisms that Immanuel Waller stein credits with weakening US power. The mechanisms which Immanuel Waller stein consider for the weakening og American superpower are also various. In this pretext, to begin with, geographic expansion of the European world-economy to include the whole of the globe shook US economy. In the second place, the expansion meant the elimination of other world-systems as well as the absorption of the

Startups. Young Entrepreneurs Essay Example | Topics and Well Written Essays - 1250 words

Startups. Young Entrepreneurs - Essay Example And of course there are the "children" that refuse to be seen as incapable members of the society and by chance or knowledge they make it work in the very competitive business market, hit the screen and make a fortune even from their adolescence. This is the case of two young entrepreneurs that share their secret and how they cracked the market. The first case is the one of Dominic McVey. He started his business around the age of 13, when boys have dreams of driving anything that moves. He is now 19 and his business still goes one and flourishes. There could be said that his story is one of sheer luck, but the fact is that he took advantage of a simple fact that happened in his life. By mistake, when he was looking for a Visa credit card, he introduced the word "Viza", which is a brand of scooters. As a young boy he wanted one for himself, but knew that neither he, nor his parents had the money to buy one. He dared to write them an e-mail through which he requested a free one, with the promise that he could sell much more in his town. The answer from the company was that if he bought five, he would get one for free. McVey was not a complete stranger in the field of business and he started gathering the money from different sources, like organizing parties and selling various things on the internet. When he finally got the si x scooters, a new business opportunity opened for him. He sold the five scooters to friends and family and within a week he sold other ten ones. From there the sky was the limit. Some people said that Dominic's business was sheer luck, but when we hear the version of his promotion there are some clear strategies that he followed in order to be successful on a large scale. One of the strong points of Dominic was his great persuasive manner of presenting the product. He admits that "I was very, very competitive. I guess I was very mouthy about other products out there, but all the others out there were crap and expensive." He proved to have a good knowledge of the product and at first he had a great direct marketing strategy, which involved a personal touch and contact with the customers. This touch brought him in the center of attention both for the press and the people in general. The fact that he was liked by the press proved to be essential in his business, as he got the kind of promotion and advertising he never thought to achieve before. Even if as a child he got bored of his scooter, he did not stop selling them. He thought of a way of promoting his pro duct through flyers and was not discouraged when he was chased around by security or the traffic safety people started to be unhappy with so many scooters. His customers had different backgrounds, from the businessmen that bought them as toys, to the persons that used them to commute to their work place. One of the problems that Dominic faced was obviously his age. He managed to overcome this by working mostly on the internet and on the phone. He had good presentations made by his friends and practically this was all he needed. The big companies tended to see him as the little brother and found it a pleasure to share information with his. Anyhow the great advantage of the business was that all the money was his and the only things that were needed to be paid were the phone and internet bills. For Dominic technology filled the gap. The internet marketing strategy worked out. Anyhow, McVey is for now not taking into

Postmodern tendencies in American TV Essay Example for Free

Postmodern tendencies in American TV Essay Television scholars have observed that in the past twenty years American popular television has undergone a major transformation in style and form. John Thornton Caldwell uses the term televisuality to signify a development in the images running through the small screen. Such a shift in form and presentation developed alongside contextual factors. Caldwell explains his view in detail: Starting in the 1980s, American mass-market television underwent an uneven shift in the conceptual and ideological paradigms that governed its look and presentational demeanor. In several important programming and institutional areas, television moved from a framework that approached broadcasting primarily as a form of word-based rhetoric and transmission†¦to a visually based mythology, framework and aesthetic based on an extreme self-consciousness of style. (1995, p. 4) This emphasis on style is predicated on reconceptualizations of form and presentation in television, consequentially changing production and labor practices: With increasing frequency, style itself became the subject, the signified, if you will, of television. In fact, the self-consciousness of style became so great that it can more accurately be described as an activity—as a performance of style—rather than a particular look. (1995, pp. 4 -5) Televisuality is more than a historical phenomenon; it is also a discursive product. The ramifications of televisual style are brought about by business conditions, technology and audience reception, as well as intended changes in industry and aesthetic practices. Certainly there are factors unique to this contemporary trend, but Caldwell is quick to point out that televisuality is not some original invention that does not have historical precedents. It can be traced from a long history of â€Å"aesthetic posturing†; that is, stylization has been a regular artistic practice in television production that has snowballed, albeit unevenly, into what mass-market television has become of date. Furthermore, stylization is tied to a much broader landscape—to processes of transformation in mass media and American popular culture. Caldwell’s approach, that of historicizing and contextualizing stylization, necessarily leads to another aspect—its ideological implications. Given the rather broad conceptualization, instead of offering one sweeping definition Caldwell identifies six principles of televisuality (pp. 5-10). These principles are explored in-depth in his seminal work, Televisuality: Style, Crisis and Authority in American Television. I shall enumerate them and briefly explain the author’s ideas in the paragraphs that follow. Even though these tenets were discussed with special reference to the 1980s, the era that signaled the major turn in television’s presentational format, I will nevertheless explain them with the presumption of their universal (non-time bound) applicability. 1. Televisuality was a stylizing performance—an exhibitionism that utilized many different looks. According to Caldwell, televisuality is a â€Å"presentational attitude† that emphasizes exhibitionism. Exhibitionism is evinced through the use of different existing visual looks and stylizations, leading to different of â€Å"guises†. This means that the conventional genres of presentation and format are less evident. The constant â€Å"experimentation† and blurring of boundaries make for a certain visual spectacles. 2. Televisuality represented a structural inversion. If before television shows prioritized subject over style, and the visual packaging of the image was relegated to the background, beginning in the mid-1980s some shows placed style on the foreground. This practice is not simply a positional swap. Style or the presentation of the image, Caldwell clarifies, is the subject, or in other words, is significantly tied to the text itself: â€Å"(S)tyle was no longer a bracketed flourish, but was the text of the show† (p. 6). To analyze the televisual text is to articulate to the act of presentation of the subject itself. 3. Televisuality was an industrial product. The third principle refers to an important foundation of televisuality—the mode of production. For Caldwell, televisuality—including the â€Å"presentational guises, the narrative forms, and the politics of mainstream television† (p. 7) stems from the technological and production developments, some of which result from specific cultural and economic needs. At the same time, the production base evinces particular audience attitudes and responses. 4. Televisuality was a programming phenomenon. As stated earlier, televisuality is a product of television history; it has its precedents. Exhibitionism and spectacle is not an entirely unique phenomenon; what is unique is the manner in which â€Å"showcasing† is done by broadcast networks. Another example is the presentation and branding of some shows as â€Å"special events†: Programming designed around special-event status was also not entirely new, although the kind of prestige and programming spin that special events offered threatened to dominate television by the late 1980s. † (p. 9) Thus, today the viewer finds â€Å"exclusive† news coverage commonplace in news and public affairs shows, and there is a saturation of â€Å"reality† game shows documenting the lives of ordinary people desperate for instant fame and fortune. 5. Televisuality was a function of audience. Caldwell notes how television audiences have become more varied in terms of taste and preferences. Audience response, from his view is both manufactured by networks, as well as a function of agency. As the cultural literacy of audiences is developed across different social segments, audiences’ sensibilities are also trained by the continuous development and revision of shows on television. For example the introduction of video games in the mass market in the early 80s profoundly shaped young people’s lifestyles. Meanwhile, television makes use of technological developments like the videogames to reinvent the stylistic wheel, so to speak, in turn orienting audiences towards developing new viewing pleasures. 6. Televisuality was a product of the economic crisis. In the 1980s, mainstream networks were stunned by the popularity of cable viewing. Caldwell believes stylistic showcasing is the mainstream networks’ approach to â€Å"protect(ing) market share† as the business conditions became more competitive. While Caldwell focuses on stylistic (re)presentation in contemporary American television, another scholar, Jason Mittell (2006), focuses on developments in television genre and narrative. Mittell uses the concept of narrative complexity to approach the intertextual tendencies of television serials. Following his work that posits a cultural approach to genre study (A Cultural Approach to Television Genre Theory, 2001), Mittell insists that popular American television should be broadly understood as a product of cultural, historical, and structural forces. New trends in genre development should be examined alongside contextual factors – network business outcomes, shifts in industrial and artistic practices, technological innovations, and audience tastes and responses. Additionally, narrative complexity should be approached as a cultural phenomenon. Mittell’s critical perspective shares with Caldwell a broader view of television studies, whereby context is read into particular aspects of the text (style/stylization, genre, narrative). Like Caldwell, he also situates the unique formal qualities of the narrative within structural and historical developments in production, circulation and audience reception. Perhaps in anticipation of Mittell’s view, Caldwell (1995) also suggests that one way of analyzing the form and functions of televisuality by comparing earlier conventional genres and more recent attempts to incorporate stylistic embellishment and exhibitionism (p. 18). Mittell observes that narrative complexity is a striking feature of some of today’s popular television fare, offering an alternative to earlier conventional formats. Mittell takes after film scholar David Bordwell with the view that the term encompasses a particular set of â€Å"norms of narrational construction and comprehension† (Bordwell cited by Mittell, 2006, p. 29), which combines different genres, movements and creators in coming up with a coherent whole. These features are drawn from cinema as a reference, however, and thus Mittell also points out that while cinematic techniques over the last decade have also shaped the television narrative in certain ways (for instance, the crossing-over of film auteurs and practitioners to the small screen have brought about a new breed of â€Å"quality television† or â€Å"intelligent† serial programs; filmic intertextuality, or the combination of other media like novels and comic books in making films), contemporary television storytelling style should still be examined according to the medium’s unique features, structures, history and language (p. 29). Mittell also adopts what he calls a â€Å"historical poetics† in his definition of narrative complexity an approach that invites the reader to go beyond the borders of the text. The textual features should be read in conjunction with particular socio-historical contexts—industry and production trends, technological developments, and changing audience behaviors, and the like. Awareness of the influence of specific contextual factors assumes that narrative development is not an isolated textual whole but a product of external factors. Mittell then traces the rise of narrative complexity in the television. Most of the television practices he cites are more or less synonymous to factors that also brought forth the era of televisuality, which Caldwell pointed out. For instance, Mittell explains how the appeal of the small screen captivated film creators and professionals who started out in the film industry. David Lynch (Twin Peaks), Allan Ball (Six Feet Under), and Joss Whedon (Buffy the Vampire Slayer, Angel) are notable examples. Part of the attraction is that television, being a â€Å"producer’s medium†, creators gain more authority and leverage compared to the director-centric film production (p. 31). Modes of television viewing also compelled networks to re-strategize programming practices and schedules. Beginning in the mid-80s the popularity of serial narratives gradually declined. It was found that audiences lacked the sustained attention for weekly serials. A relatively new kind of practice, the syndication of TV programs became a major challenge for networks, as it gave audiences more elbow room to view episodes of their favorite shows without having to follow a fixed weekly schedule. Another trend that Mittell observed in terms of reception is the increasing diversity of audiences. As new broadcasting companies and channels add to the media clutter, they develop shows that cater to certain demographic brackets or attuned to specific cult followers in order to compete with established networks like CBS and NBC. As always, technological innovations impact significantly on television. For Mittell, the television industry easily latches on the latest technology to advance aesthetic and production purposes. As an example, one of the most recent developments that single-handedly changed the cultural landscape is the Internet. Television cashed in on this new technology by putting up fan sites and â€Å"official† TV program sites. These sites extend television viewing, as they enable followers to do a range of activities (discussion of episodes with other viewers, purchasing of merchandize, research information about the show) in relation to the show itself. The postmodern turn in television The above discussions can be subsumed to the overarching theoretical paradigm called postmodernism. Televisuality and narrative complexity can be regarded as actual structural features and dynamics that demonstrate the postmodern condition in the realm of television. Several of the features and themes that characterize postmodernism, charted by Jim Collins in â€Å"Television and Postmodernism† (1997) resonates with the definitions of televisuality and narrative complexity proffered by Caldwell and Mittell. For instance, Collins discusses how postmodernism is predicated on the proliferation and circulation of signs or images, in part propelled by the latest technology (cable, VCR, digital technology, the Internet) (p. 193). The bombardment of images, all of which demand the viewer’s attention, eventually effaces meaning. The primacy of the image is also an attribute of televisuality, especially in its claim that style is the text/signifer. In addition, there is also the logic of excess that in televisual parlance translates to excessive style. Eclecticism seems to be a commonplace notion in discussions of televisuality and narrative complexity. In the latter, the employment of various styles in the process of expermentation or stylization is a form of eclecticism; in the latter, the cross-fertilization of differing genres. Related to this is intertextuality, the use or borrowing of various formats resulting in the blurring of boundaries, or the reorganization of genre or style hierarchies. Though features of conventional prototypes may still be recognizable in a given text, their combination or recombination attracts the viewer’s attention more distinctly. In this paper I will attempt to show what is postmodern in American television. Many accounts of postmodernism dabble in excess themselves, and fail to anchor much of the claims in empirical realities. I believe that what postmodernism articulates in theory is more acutely contained in the concepts of televisuality and narrative complexity. Thus, while the critical perspective employed here remains to be postmodernism, my analysis uses more empirical conceptual handles.

Methods of Data Collection

Methods of Data Collection 1. INTRODUCTION This report consists of how data are collected and what are the methods to collect data for research. To improve a research better one or for more learning of particular thing which is to be analyzed. In this report a brief study of method of collecting data by primary data and secondary data with their classifications will be observed. 2. Methods of collecting primary data OBSERVATION QUESTIONNAIRE SEMI-STRUCTURED AND IN-DEPTH INTERVIEW. 2.1 OBSERVATION Observation means finding what people do, what they need, etc†¦ It combines of recording, describing, analysis and interpretation of people behavior. Observation are two different types, PARTICIPANT OBSERVATION. In participant observation researcher will involve with subject activities and live and being a member of group. E.g. .all documentary films are all of this kind. This type roles are: Complete participant Complete observer Observer as participant Participant as observer. Graphical representation of participant observation researcher roles Participant as observer complete participant Observer as participant complete observer STRUCTURED OBSERVATION. As the heading its self describes about what kind of observation are done in it. It’s a structured way of dealing data collection method, which involves in high level of predetermined structured .It form only some part of data collection. Ex: A daily attendance sheet, planning sheet. 2.2 SEMI STRUCTURED AND IN-DEPTH INTERVIEWS It involves in interviewing a person or on group. Where interview are classified into structured, semi-structured, unstructured interviews. In structured interviews a format of question are followed for some particular criteria to be handled, which consists of standard questions. For semi-structured interviews it is based on optioning the customer to select their preferred section of questions. Whereas unstructured interviews deals with in depth involvement in a particular or interested area. Interviews are done by face to face and group interviews. Face to face interviews can figure out a person behavior, but group interview show how groups are mingled together and how they differ one another. HOW CAN THESE TYPE OF INTERVIEWS ARE USEFUL IN RESEARCH 2.3 QUESTIONNARIE It is a general way of collecting data, in which person is asked to answer for same set of questions in order. It is very easy to ask question for some study or research. Most of the research use questionnaire as their weapon for collecting information. This can be involved in individual level so sampling size also be larger one. An interesting one in questionnaire is modes of responding to it. Telephonic survey. Mail (postal) survey. E-mail survey. QUESTIONNARIE SELECTION CHART 2.3.1 Telephonic survey It is a common method followed where researcher and respondent are unknown. So limited data are collected from this method. Due to limitations it restrict questionnaire format to smaller one. Question must be easier for respondent to answer quickly. Question must not be longer one which consume more time. To handle this survey a trained person must be interviewing. Answers to question can be entered directly on an excel-sheet to save time. 2.3.2 Mail (postal) survey It is average form of survey where respondent and questionnaire cannot contact directly and without any interaction. Questioner should be preplanned about design and structure of question to be framed in such a way that respondent could answer it without neglecting any question. Questions must be in an order like easy, average, difficult, which can earn a valuable survey. Time are more valued in surveys. 2.3.3 E-mail survey E-mail survey are most popular survey where people are gather through internet. It can be performed in two way by e-mailing or using online survey. Just as mail an e-mail can be sent to respondent for answering but they may not reply for it, due to some reasons. Online survey are better because they answer then and there so data are collected faster than mailing. Today html pages are used to frame survey questions. And exciting one for survey is Google forms which are much useful for researcher to get job done. 3. METHODS OF COLLECTING SECONDARY DATA Collecting secondary data involves in finding publications, project and research reports, ERP/data warehouse and mining, internet/web for your necessary of research details. 3.1 PUBLICATIONS It refers to printed media like newspapers, textbooks, magazines, journals and reports. These are otherwise known as reference material, which contains wide source of data. Researchers follow secondary data as their first priority than primary data because it will lead them to a proper or complete view of research for their respective topics. As every publications have topic specified to itself, researchers can find easily the source of topic in a systematic manner. To search these publications proper guide lines also required. 3.2 ERP/DATAWAREHOUSES AND MINING For every organization ERP are implemented to gather information about finance, commercial, accounts, production, marketing, RD etc†¦ How do ERP helps in research, since it has data stored day by day, months and yearly basis to compute as integrated one. Researcher of different phenomenon can easily track those information by authorized person of such organization for their data collection. ERP has different sectors combined for example if a researcher form financial sector comes to verify how organization development in that particular sector, he/she can collect information from ERP. Mostly these data are considered as primary data. Data warehouses are secondary data, where large amount of data are stored. These data cannot be analyzed manually. So software for analyzing it is Data Mining Software, this will segregate all kinds of data and use statistical techniques to analyze data. Some techniques used by this software are variance analysis, cluster analysis, factor analysis, etc. It is a statistical and information technologies software. To create these software so of vendors of it are, excel miner, SPSS, SAS and SYSSTAT. Data mining is automated process where some features are selected by user. 3.3 Internet/web Most basic way collecting secondary data is to search through web. As we know internet search topic and words related thing easily and fast where surplus amount of data are founded in thousands of websites all over the world. It includes all e-textbooks, journals, government reports. To search our results through internet search are provided those are GOOGLE, YAHOO, etc. all these search engines can show several sites but one must choose correct data related to topic of research involves. Most popular website for collecting data are Wikipedia for researcher, where note of particular topic are gives with reference site to get detailed study about research topics. SOME OF THE IMPORTANT WEBSITES 4. conclusion From the given information we know about what are primary data and secondary data and how to collect those data from various resources. Research must be valuable one so data collection must be done enormously to predict correct result of analysis. Secondary data can be added in research reports but there must be some data which show your involvement in research process. Research is an endless process because as time changes strategy of reports containing details also vary due to respondent are not same in nature. A research about a topic gives overview, detailed and explanation according to research types. At last collection of data are most important for research because it act as proof or evidence of your valuable reports. Table of Contents PG NO INTRODUCTION 1 METHODS OF COLLECTING PRIMARY DATA 1 OBSERVATION 1 2.1.1 PARTICIPANT OBSERVATION 2.1.2 STRUCTURED OBSERVATION 2 2.2 SEMI STRUCTURED AND INDEPTH INTERVIEWS 3 2.3 QUESTIONNARIE 4 2.3.1 TELEPHONIC SURVEY 5 2.3.2 POSTAL SURVEY 5 2.3.3 E-MAIL SURVEY 5 METHODS OF COLLECTING SECONDARY DATA 6 PUBLICATIONS 6 ERP/DATA WAREHOUSES AND MINING 6 INTERNET/WEB 7 CONCLUSION 8 REFERENCES PEARSON EDUCATION/ THIRD EDITION/ RESEARCH METHODS FOR BUSINESS STUDENTS/ Mark Saunders/Philip Lewis/Adrian Thorn hill SAGE PUBLICATIONS/ESSENTIALS OF BUSINESS RESEARCH/ Jonathan Wilson. TATA McGraw HILL/STATISTICS FOR MANAGEMENT/ G.C.BERI.

Legalization of Marijuana for Medical Use Only Essay example -- pro me

The history of U.S. policy toward mind-altering substances has followed cycles of tolerance and intolerance ever since the mid-19th century. The medical use of the cannabis plant goes back at least 5,000 years to ancient China. It has been used by most of the world’s cultures for its healing properties (Medical Marijuana Cases 1). Today such conditions as Migraine headaches, Glaucoma, Cancer, Epilepsy, Asthma AIDS/HIV, Spinal injury, Muscle spasms, Insomnia etc., could be treated for symptomatic relief with cannabis or cannabis extract. However, marijuana is still considered an illegal drug in most states in the United States. Marijuana usage may have been common 20-30 years ago, but it really isn’t any longer. Judy Foreman states that a hardy band of activists seeking legislative approval of perennial bill that would bring Massachusetts in line with 34 other states in letting patients with certain conditions smoke marijuana (1). 2 What was known, as the â€Å"wicked weed† of the sixties can be good medicine . Marijuana certainly seems safer than may other drugs, even aspirin that causes gastrointestinal bleeding, killing hundreds of people every year (Grinspoon/Bakalar 4).3 There are lots of drugs American society does not let people use except under doctor’s care, for instance, cocaine, Demerol, est. No one thinks we have legalized cocaine because we let surgeon or anesthesiologists use it. Therefore, the notion that there is a link between medical use and whether people should to be able to legally get stoned is nonsense. One situation does not necessarily include the other. Nevertheless, there has not been a single death by overdose (Foreman 4).2 As an enlightened society, we must reconsider the legalization of marijuana for medical use only as it eases pain and suffering of many illnesses.   Ã‚  Ã‚  Ã‚  Ã‚   To effect changing the attitudes within our society about marijuana, one must be realistic about the legislation of our own bodies. Right now cocaine and morphine are prescribed legally as medicines, and those legal uses are not adding in any significant way to the country drug problem. While experts debate the medical use of marijuana, patients in Santa Cruz, San Francisco and Alameda County are lining up at Cannabis Buyers’ Club to receive the drug. Despite the coffee house atmosphere at the Cannabis Buyers’ Club marijuana remains illegal. Although some ch... ...ting a combined total of almost 10,000 physicians statewide endorse the proposition (Don’t Jail Med 5).9 What can we do to help? We must stop building prisons instead we must rebuild our lives. Works Cited 1. Mikki, Norris, and Chris Conrad. Medical Marijuana Cases. N.p.: Inernet mario lap, 1996. 2. Foreman, Judy. â€Å"Medical Marijuana (Acure or Curse).† Boston Globe [Boston, Mass.] 7 Oct. 1991: 25-26 3. Grinspoon, Lester, and James B. Bakalar. â€Å"Marihuana as Medicine A Plea for Reconsideration.† American Medical Association.† 273 (June 1995): 1875-1876. 4. Donnelly, Kathleen. â€Å"The Cannabis Prescription.† San Joes Mercury News, 6 Feb   Ã‚  Ã‚  Ã‚  Ã‚   5. Schlosser, Eric. â€Å"More Reefer Madness.† Atlantic Apr. 1997: 90-102 6. â€Å"Deglamorising Cannabis.† Editorial Lancet 11 Nov. 1995: 1241. 7. â€Å"Marijuana as Medicine.† Editorial San Francisco Chronicle 31 Jan. 1997: A24. 8. Morganthau, Tom. â€Å"The War Over Weed.† Newsweek 3 Feb. 1997: 20+. 9. â€Å"Don’t Jail Medicinal Marijuana Patients†. Online NORML Internet. 21 Nov. 1996. 10. Mikuriya, Tod. Marijuana Medical Handbook. N.p.: Internet. 11. Postrel, Virginia I. â€Å"Reefer Madness.† Washington Post 3 Mar. 1997: 4.

Graffiti as an Artform Essay -- Visual Art Artists Graffiti Spray Pain

Graffiti as an Artform The value of any message or work of art, whether it is hanging on the wall of a gallery or a subway, lies on the intensity of the artist’s or vandal’s beliefs. Graffiti is an uncertain issue in respect to its virtue. While the voice of the individual must never be lost in a society of shouts growing larger and louder every second; graffiti is such a public medium that its integrity must be of great concern. Graffiti is a vast wasteland of indefinite opinions. Foremost graffiti is illegal and a form of vandalism, it invades peoples privacy and destroys their property. However, graffiti can be a means by which one may permanently express one’s self. It has the potential to convey a powerful, relevant message. Therefore the merit of graffiti is dependant on the circumstances present, how it affects society, and the purpose for which it is created. Graffiti serves several different purposes; it is a marker serving as proof of identity for some individuals, for others it is a form of vulgar recreation. The wall of one building may serve as a public record, a confessional and an art gallery at the same time. The most dejected application of graffiti is illustrated in the story of a High School student, Katy Lyle, who was emotionally traumatized by the presence of disgraceful, fictional writing transcribed on the wall of the boy’s bathroom pertaining to her sex life. This case clearly shows the damaging effects of graffiti as the crude remarks ripped her social life apart. The writing was completely void of worth, its intentions were to simply single out and destroy the individual to which it pertained. A similar incident occurred at Brown University as a list of notorious rapists was w... ...e P. â€Å"Old Graffiti Adds New Chapter To Ellis Island Story† The Buffalo News 26 Mar. 1989: A-16 Beaty, Jonathan. â€Å"Zap! You’ve Been Tagged!† Time 10 Sept. 1990: 43 Chirag, Matt. â€Å"An Apocryphal History of Graffiti† 73 (xxx): 7 pp. Online Internet. 3 Nov. 1996 Garmire, Elsa & Lui, Catherine. â€Å"Paint Removal Using Lasers† Applied Optics 20 July 1995: 4409 Hertzel, Laurie. â€Å"A Nice Girl Tortured By Vicious Graffiti† The Buffalo News 30 Jan. 1993: C-9 Lindlaw, Scott. â€Å"Slaying of Vandal Strains Ties in Graffiti-Weary Community† The Buffalo News 19 Feb. 1995: A-10 Reese, K.M. â€Å"Chemistry Teacher Patents Antigraffiti Coating† Chemistry & Environment Journal 10, July 1995: 64 Starr, Mark. â€Å"The Writing On The Wall† Newsweek 26 Nov. 1990: 84 Warner, Gene. â€Å"Vandal Defaces Poignant Mural On City’s East Side† The Buffalo News x xxx x: x

Lord of the Flies-Rules on the Island Essay

We need rules to keep us safe. Also, rules will make it fair and equal for everyone and help us to survive and be rescued. It is really important for us to follow these rules. We need rules on this island to keep us safe until we are rescued. We nearly set the whole island on fire and now the boy with the birthmark is missing! To stop this happening again we will have only one fire only, up on the mountain, for cooking and as a signal. That way no-one will be harmed. Also, don’t wander into the jungle at night. You could get lost and then we all have to come looking for you. Another problem is boys going to the toilet wherever they want. It stinks and it is dirty, especially when you go near the fruit. We could all get sick from it! From now on go near the rocks and the water will wash it away. These are just a few reasons why we must have rules! Rules will ensure that every boy is treated fairly and equally. The conch should be used at all meetings where only the boy with the conch can talk. By doing this there will be no interruptions and everyone will get a fair say. Furthermore, Piggy has been hit and his glasses broken. The idea of the stronger boys taking advantage of the weaker ones is not acceptable. This behaviour is barbaric! Can’t you see? If we continue this there will be fights and arguments and we will fall apart. Without doubt this proves that rules are needed. We need rules or we won’t survive and get rescued. We all need food and shelter to survive. Without food we will starve and without shelter there is no protection from the elements. We must work together so shelter is built and food is caught. In addition, if we don’t follow rules such as keep the fire going we won’t get rescued. We already missed one chance of rescue when Jack left the fire, we won’t miss another! Clearly this shows, it isn’t hard, rules must be followed. You guys have to realise that these rules determine life and death. Rules keep us safe, they ensure everyone is treated fairly, and help us survive and be rescued. It’s up to you to follow these very important rules which must be abided to.