How effectively did the three armed services combine in the Falklands Essay

How effectively did the three armed services combine in the Falklands campaign - Essay Example Despite being over 8,000 miles away and at a tremendous logistical disadvantage, Prime Minister Thatcher sent an invasion force consisting of ships of all varieties, airplanes, helicopters, soldiers and one British Prince. Mrs. Thatcher wanted to prove to the USSR and communist governments throughout the world that western powers were not going to back down from a conflict, especially a colony or territory that contained a large number of western inhabitants. Thatcher was informed that Soviet intelligence reports stated that even if Thatcher were to go ahead with a military invasion, the English would lose if they went at it alone. Again, The Iron Lady took offence and set out to prove them wrong. The British Prime Minister realized the implications of this crisis. She knew that what ever she chose to do would be setting one precedent or another. It was in Thatcher's hands to decide which precedent she would set. For her, there was no question, she could not let it seem that the Sovi ets could freely choose a Western territory or colony and simply invade it without fearing the consequence of military action. In most of the renowned strategists’ opinion, the Falklands War has been referred to as like two bald men fighting over a comb. Neither country particularly needed the Falklands, and the Falklands had very little that either country coveted, but it was the symbol that was important. (Gordon 2006) Argentina lost the war in part because the comb wanted to go to England but more importantly because they simply were not prepared to fight a war against the whole world. How did British Royal Forces Show Leadership Styles The British royal armed forces used dramatically different leadership styles portrayed by British Officers at the battle of Goose Green. As regards to these two characters are the most prominent: the Battlegroup Commander Colonel H Jones who was famous for assaulting a trench single handedly and was subsequently killed. The second character is that of the B Company commander Major John Crosland who successfully lead an assault on Burntside Hill and demonstrated a markedly different style of leadership than that of Colonel Jones. These two characters have been chosen because of their almost polar opposite approaches to initially the orders process and then their own leadership style. They demonstrate just how subjective the orders process can be and the affect that a differing approach can have on the battle itself. Jones demonstrated how an autocratic style of leadership coupled with a positionalist approach to war fighting lead to near disaster, whereas Crosland showed how a slightly more Laisser Faire attitude and an understanding of mission command could prove successful. How could two such different approaches be present in what was to all intents and purposes was the same organization? The first - the orders delivered by Jones for the Assault on Goose Green and secondly his individual leadership style. These will then be contrasted with that of Major Crosland and his assault onto Burntside Hill. Colonel H Jones was a renowned figurehead of the 2nd Battalion the Parachute Regiment. He was known for his fiery temper, his embrace of the Parachute Regiment ethos and his dogged tenacity (Middlebrook, 1985). His actions

Developing Competence Essay Example | Topics and Well Written Essays - 2500 words

Developing Competence - Essay Example The work under the review is about the correlation between people's competence and governmental efforts in education of the population. The topicality of the paper is explained by the fact that development of the employee competence is one of the most crucial steps which organizations take in order to safeguard their long term future. The work proves that governments play a very critical role in the development of the competency level of the members of the society. It describes how the UK government has taken some steps in the past directed at bridging the gap between the skill levels, however, these steps received mixed success. The government contribution in imparting the necessary trainings through a solid education system is very critical to not only meet the skill shortages, but also increase the general skill level of the employees besides offering the youth a chance to adapt to the new skills and technologies to better place themselves in the future careers. Various schemes ar e explored in this report besides looking into the initiatives taken by the Government and the private sector employers to bring in the culture of training and development within the UK society. Over the period of time, the UK government has taken some serious actions with not the best results. Unfortunately, the author comes to the conclusion that the schemes initiated by the UK government were not that much effective in their approach to bring in more training, though they developed which is targeted in nature and were well focused on the employees and organisational needs.

Design Concepts in Architecture

Design Concepts in Architecture Design is the most basic human creative activity. One could argue that Palaeolithic cave drawings were based on this fundamental human creative need. The word design derives from the Italian word disegno, meaning drawing of a work. Many confuse the notion of Design to Art. Design can well be seen in art, but as an independent subject it must be considered as entirely different. One of the first to distinguish this difference, were several British design historians, dating from 1977. Design can be seen and experienced everywhere. Design can be a development progress or an object. Definition for the word design given by designer Richard Seymour is making things better for people. ¹ Design expands so vastly, It can be seen in furniture, advertising, machinery, books, media, fashion, computers, food and in many other fields. Design nowadays is a subject of university study, such as graphic design and industrial design etc. It has always been accepted that anyone who created something, or made something look good, aesthetic or beautiful could be considered a designer. Even though most people believe that a good design is one that looks beautiful, this is not always the case. A good design is one which focuses mainly upon its intended function. A successful design is one that completely fulfils the needs of its intended purpose, Form Follows Function. A designer must be able to meet several points: aesthetical, artistic, theoretical, mechanical, organizational and functional. The word design holds much meaning and design paradoxes are endless, it would therefore be impossible to analyse them all. The focus of this review essay is the architectural area of design. In early 1937, Czech philosopher, Jan Mukarovsky developed a model of five functions for architecture: the immediate, the historical, the personal, the social and the aesthetic. In the arena of Art and Architecture, Design is a basic principle that must be carried out through every piece of work. In this respect, design is an idea, a concept, which is transferred from the individuals mind on to canvas, paper, blue print etc. In England (16th century) the term design was used under the sense of plan from which something is to be madea drawn sketch for an artwork, but also s Bernhard Burdek said: an object of applied arts; Design can be anything that stings ones imagination. Italian designer Giorgio Giugiano says: there is nothing without design. As the 20th century approached new attitudes in Art made their appearance. New styles were discovered by different artistic experiments such as Art Nouveau, Arts and Crafts Art Deco. These artistic trends and movements would encompass the styles referred to as the isms of the period, for example; Expressionism, Cubism, Surrealism and others. Some of these aforementioned areas had an impact in Architecture, but it must be noted that the Architectural field consisted of its own movements which rose within these decades. Egyptian, Greek, Roman and Renaissance architects and artists would combine their knowledge in order to produce a building design which combined and encompassed both the beauty of Art, but also the power and discipline of Architecture. The roots of Modern Art dates back to the 19th century. Artists were experimenting with their paintings and sculptures in order to find something different, something that could express better what the painter, sculptor saw or felt, but at the same time enabling the observer to experience the artwork himself through his personal emotions. Areas of the Modern Art movement will be further analysed in the forthcoming paragraphs and their connection with the architectural styles which were popular at that time. Even though the modern era in architecture consists of several other movements (Usonianism, Constructivism, Purism etc), the purpose of this review is to analyze the influences that Art had on Architecture during the 20th century. Within the first decade of the 20th century, the first movement in Modern Art, to make its appearance was Expressionism. Painters such as Vincent van Gogh would flatten their paintings using lines, exaggerating certain fragments of the painting, either by using bright colours or by just the simple and minimal black and white. This simplified way of painting would usually portray sceneries focusing not on the beauty as the public was use to, but the suffering, poverty and violence were the notions presented. Parallel to Expressionism in Art, Expressionist Architecture started to develop. Most examples Can be found in Germany and a few other European countries. Similarly to artists trying to picture the cold truth of a humans life without any essence of beauty, leading architects such as Mies van der Rohe, Walter Gropins and Hans Poelzig developed poetical and dramatic designs influenced by natural forms which consisted of unusual shapes and massing. Manmade materials, such as, brick, steel, concrete and most importantly glass were key characteristics to this architectural style. In the lithograph on the left, Scream, also known as Shouting, the notion of sadness , fear or even death have been pictured; the print consists only of lines, which all lead to the centre of the picture, to the most important part, the screaming figure. The facial characteristics of the human head are very minimal, and may remind one of a caricature or a cartoon; even though the face is some what destroyed the person shouting, holding his head, with wide open eyes and mouth, gives one the impression of fear; as if he was facing something that scared him. The figure itself is very thin , the minimal appearance of clothing and the skinny face, may be thought to be either an old woman or man, facing the time of death. One of the buildings which has been placed under the title of Expressionist Architecture, is Hans Poelzigs exhibition space and water tower building. This extraordinary design of its time, is located in the city of Poznan, in Poland and was completed in 1991. Throughout the building it is difficult to find any straight lines; curves and flowing shapes are what make up the Einstein Tower. It looks more like a poetic and romantic sculpture than a building for such a specific use. The steps leading up to the entrance, through the body of the building with its dome like roof, reminds one of a naturally occurring organism such as a plant or an undersea creature. In France, during the period 1907 to 1914, the leaders Picasso and Braque developed the movement of Cubism, which largely differs from Expressionism. Analytical Cubism, focused on two-dimensional, flat paintings which would picture an object by breaking it down into shapes. Lines, geometric forms and bright colours were a necessary characteristic. Synthetic Cubism derived from the method of Collage, synthesising, combining painting, incorporating pictures from magazine advertisements, cuttings and clippings of different materials to generate a complete piece of artwork. As previously mentioned, Cubism was strongly associated with two-dimensional portraying. This motif in art also had an influence on architecture. Well analysed and synthesized architectural spaces, would remain in the usual two dimensions; architectural representations were based on the artistic era of the time. Closely related to Cubism is Abstract Art. Artwork now is not a matter of copying what appeared in front of ones eyes, but something that one may call a piece of decoration. What the artist feels becomes art. During the First World War, a group of young artists, named Dada, made their presence. They found a way to express their protest to the war, through their abstract painting. Picassos Violin, appears to be very confusing. By its title, one becomes familiar with what is portrayed. The painting illustrates a destroyed musical instrument, broken/cut into pieces. With its curved shapes and brown colours it is easily understood. But what is fascinating about this piece of artwork is the way the artist has shaded each part of the violin, giving it a special significance. Even though the painting is portrayed on a canvas (two dimensional), the hole picture seems to escape those boundaries, each part appears to stand out from the canvas. Dada for me was a new beginning and a closure. In free Zurich where the newspapers can say what they want, where magazines were founded and poems against the war read out, here where there were no ration-cards and no ersatz, here we had the possibility of shouting out everything that was filling us fit to burst. Richard Huelsenbeck. During 1922 to 1924, when Dada began to lose their influence, Surrealism was introduced. Painters were creating dream like pictures. Within these paintings one fragment would blend and merge into another and depending on the angle in which one viewed the drawing, the picture on the canvas would change. The same object could have two or more uses within the painting. Architecture has embraced most art movements and Surrealism was not be left out. As was analyzed in the previous paragraph, painting fragments, which had multiple uses, were one of the principles undertaken in this art style. Architects were incorporating two or more in some cases uses to a building, multiple approaches and embeddings. Within this surrealist painting of Dali, different elements accommodated a different story; and in some cases may have more than one role. In the centre of the painting , a female face appears, her eyes are also seashells on the beach, her forehead and nose form a fruit bowl full of pears; on her left hand side there is a dark tunnel with a river, whereas on the left side of the painting, there is mountain with sea waves running down towards the females face. The mountain to the right acts as a dogs head and what seems to be its collar is a bridge; many other such elements are hidden within this painting. These two multi-storey buildings, appear to be dancing. The male (cylindrically shaped building on the right), Fred, is standing next to Ginger (female). Fred seems to be reaching out his right arm to his dancing partner. This concrete structure, relates to the strong nature of a male. On the other hand, Ginger, as a woman, constructed from glass, appears more fragile, just as a woman can be elegant and delicate. Advertisements, comic books, magazines, posters, movies and everything else which portrayed some sort of a commercial image came in fashion; art was now called Pop Art. Although many believe that Pop Art was discovered in America, continuing from the movement of Abstract Expressionism in the 1930s, Pop Art was actually first seen in London. Leader and inventor of this movement was English painter and Collage artist Richard Hamilton. Often called the intellectual father of Pop Art. The Abstract era continues to grow in the United States and in Europe. Op Art, also known as Optical Art is appearing. In the period of the 60s and the 70s, vibration and optical illusions created either by monochrome, images or outstandingly bright coloured pictures consisting of basic geometric shapes were this movements principles. Similarly to optical illusions in Op Art, illusions of such type can be found within the world of architecture; maybe this is not an era called Op Architecture but defiantly architects have been inspired from this particular artistic style; Soon after came minimalism, with Kenneth Noland, Larry Poons and others. Minimalism consisted of simple colours and solid shapes based on geometric forms. Artists would reduce as much of the elements as possible within their work in order for it to appear simple but yet again well worked. Such fragments would be colours, textures and volumes. Architect Mies van der Rohe, adopted the so well know phrase les is more, by developing building designs which consisted of open plan layouts, minimal exteriors etc. Minimalism and Architecture is still a movement that continues to grow. Minimalist architecture comprising of simple volumes and clear lines, which sometimes look very similar to solid geometric shapes, is a style of architecture found all around us. Oil, water colour, charcoal, pen and ink, sculptures and photography are some of the art forms that can be found within the Fine Art department. There are different techniques in which an artist can experiment and develop in order to produce what might be a masterpiece. The French word coller meaning glue is the term used do describes one of those methods. The assembly of different materials, which create a new image, is else known as Collage. One of the first examples that can be related to this motif was found in China and dates from 200 BC, during the invention of paper. It was not until many decades later, in the era of Modern Art and during the Analytical Cubism phase, when Collage was formally introduced. Pablo Picasso and George Braque were the first to bring out the glamour of this technique in the year 1906-07. George Braque was the inventor of collage in Modern Art. He mostly applied this technique on his charcoal drawings. One of the earliest most famous collages was Picas sos Guitar, Sheet Music and Glass. By autumn 1912 it was apparent that Picasso was very interested in the three-dimensional construction of a collage. As in Picassos Violin (pg.4) for one to understand what is portrayed, one should be familiar with the object in question; in this case Guitar, Music sheet and Glass constructed in September 1912, follows the same principle. The rear surface of the collage appears to be a section of flowery wall paper; the shapes in which the other fragments of the collage are cut are very simple and one could say effortless; but the way in which they are arranged together gives the observer a clear impression of the subject. On the left hand side of the collage the body of the guitar is formed from a wood-like cut-out. The blue rectangle next to it reminds us or the neck of the guitar, and below this the white circle resembles the sound hole. A black cut out of a semicircle forms the base. To the right are strips of sheet music and below a newspaper cutting and one of Picassos sketches picturing an abstract view of a wine glass, are the fragments which are used in order to compete the Guitar, Music s heet and Glass collage. Tatlins assembly on the left is a three-dimensional abstract construction. This creates the feeling of anger or fear and is due largely to the materials chosen. Canvas or board paper are replaced by an old wooden board. Industrial materials replace paper cut-outs which are secured by screws instead of glue. The artist, in this case, is not interested in a clean finish, but creating a rougher and more textured result which all add to its beauty. The discovery that the very distinction between flat and volumetric was no longer absolute, that through a process of unprecedented spatial semantic complexity, something deeply unsettling was happening to art.? Picasso started to experiment with his papier collers adding other materials which had a special significance. Cardboard, wood, metal and other textiles were incorporated within his Cubist artworks which were soon characterized as surrealist; In the years to come, several more artists, such as, Vladimir Tatlin, Varvara Stepanova and Alexandr Rodchenko, were producing collages. Newspapers, advertisement strips, magazine parts, photographs were some of the materials used. During the First World War, a young group of artists known as Dada were introduced, and soon became very popular. Dada attempted, in their own artistic way, to protest against what was happening to the world around them. The Dada movement was controversial at the time. They introduced a new art form, the art of expressing, in a more literal way, their thoughts about the disaster of the Great War. Dada meaning Hobby Horse in French, consisted of six members. Hugo Ball, his lover Emmy Hennings, Tristan Tzara, Hans Richter, Marcel Janco and Hans Arp. The group were based in Switzerland and the Dada era was born in 1916 in the city of Zurich. Dadaism did not only produce drawings or paintings; it was an era where all visual and intellectual arts were combined together. They used drawings, paintings, sculptures and poetry. It combined artistic, philosophical, music and political aspects. Hugo Ball would take poems apart and place the words in a random sequence. This recycling words technique and later on the photomontages and collages produced by the Dada group, would make one think that they were not so much inventors but recyclers; On the other hand another member of the group, Hans Arp was concentrating on the visual representation of their protest. Through collages and reliefs he was expressing the need of change. Within those collages, elements of wood, screws and paper can be found. The construction of those art works, were based on the law of change as Arp would say. Coming back to the motif of three-dimensional collages reliefs (page 8, Picasso), the Dada reliefs made this motif obvious. The shape in which the elements of the reliefs were cut was well thought, planned and processed. Sketched beforehand and placed exactly in order to complete the artwork. Usually curved and orientated in a natural like way would be remeniscent of organic cultures and the era of Impressionism. We do not wish to imitate nature; we do not wish t reproduce. We want to produce. We want to produce the way a plant produces its fruit, not depict. We want to produce directly, not indirectly. Since there is not a trace of abstraction in this art we call it concrete art. First collages created by Hans Arp were very minimal and simple. One could say that little effort had gone into creating them. Dadas reliefs are some what different to what one has seen through the history of collage. Shapes cut out from wood in natural forms are stuck one on top of the other. This technique could remind one of the three-dimensional construction of collages during the period of 1912-14 (pg.8). But in the reliefs on the left, an abstract assembly consisting of organic shaped, wooden fragments , painted in pastel colours, give the impression of a playful scene. Maybe one from the deep oceans or a field covered with flowers; Moving away form the notion of three-dimensional construction, Dadas work also consists of papier colles; Rectangles arranged according to the Laws of Change, is one of dadas paper collages; squares and rectangles in two shades of blue are cut and randomly placed on the rear (blue) surface of the collage. No right angles appear anywhere in this piece of artwork, nor in the position in which the paper fragments are placed on the board, nor in the way the elements are cut. Arp was always pleased to work and create art with other artists. In 1916 Arp invented the Fatagaga pictures. Fatagaga was a word which derived from the first syllables of the sentence: Fabrication de Tableaux garantis gazometriques, meaning: production of guaranteed gasometric pictures. Based on this new term, Arp and other artists created the i-drawings. The group continued to express their compassion to the sufferings of the public, but this time their collages, or as they called them, photomontages, were not so simple looking. Dada brought photographs in the papier colles, which pictured human bodies with different heads or objects placed on their forehead in combination with written illustrations, suggesting in their way the political and social exasperation towards the world. With Analytical Cubism, art opened its doors to papier colle, the construction and design of collages. Dada introduced that a collage did not only have to consist of paper and glue, but it could incorporate other materials as well, (wood, photographs, paint etc). Max Ernst said: I had to admit that in most of my collages there was no use for glue; that I am not responsible for the term collage; As the 1920s entered Dada collages formed a big change; collages where now consisting if geometric shapes, well processed and cut. The i-picture on the left, is one of Arps i-drawings. Rectangles and squares with sharp lines and right angles are places adjacent one to the other; in contrary to the Rectangles arranged according to the Laws of Change (pg.11), this collage looks more like a collage an architect would create; well planned and placed fragments in basic colours. Its one of the first times where one sees the illustrations of text within Dada pa co. The letter i is placed in the centre of the collage catching ones attention, from the first glance. The Art Critic (image on the left), moves away from the graphic collages that Dada were concentrating on until the 1920s. The illustrated bright orange rear surface of the collage, gives a new feeling to the whole picture; human forms are introduced with satiric elements. The man body is a different collage fragment to the out of scale head; facial characteristics are exaggerated by the added sketches/doodles representing eyes, lips teeth etc. Part of a shoe on the forehead of the Frankensteins man and a large pen in his right hand, weapon like, add to the style of the collage. On the right a male figure appears through the newspaper cutting on a black and white photograph. A woman looks stunned by the large figure in the centre of the collage. Additional fragments taken from magazines are added to the whole creating a troublesome image. Even though collages and photomontages started to disappear during the surrealist era in Art, there are a few examples for such stylistic papier colles. Max Ernst was one of the most popular surrealist painters in the 1920s. Within his works, numerous collages can be found. By cutting and reorganising sentimental illustrations, surreal collages would make their appearance. Other artists, such as Dali were strongly connected with surrealist collages Dali would play with the observer. He did this in the way in which the fragment of his collages where placed together, he would confuse the observer about what was being viewed, where as what was actually being portrayed was different to what the eye would see. Dalis playful scene of brightly coloured elements consists of both painting and collage; this technique has been seen before with Picassos Guitar, Music Sheet and Glass collage (pg. ). The rear surface of the Accommodations of Desire collage, is painted; this would be separate to the lion heads which are glued on. The collage consists of nine incomplete lions heads and is violent in its suggestions. In the top centre of the collage a sexual scene is suggested, with a naked women and a man standing close to her. Photomontage did not make its official appearance till the First World War and the Dada movement, but there are many examples in the past, dating back as far as the Victorian era to prove that this technique was seen before. German word Montage means fitting, and explains exactly what a photomontage is, the fitting of multiple pictures/photographs together and creating a new image. Million Fox Talbot was one of the people associated with the invention of photography. He would experimented with his photographs, as any individual would when trying to invite something now, such as photography; by placing tree leafs of the photographic plates, it would remind of some sort of photomontage; In those days, without the invention of photographic paper, the photographic plates were reused and must have be well cleaned in order for the next photograph to be taken. By not cleaning the plates whilst taking a new photo, the result would look as if one image had been placed on the other. In this wa y, photomontage was beginning to appear. In this way they would experiment with multiple plates and effects. During the Victorian period, several examples of such experiments can be found. One of the most striking of its time, were the postcards portraying a human body with a different head. With the revival of Pop Art collages and photomontages were brought back to file. Pop Art Daddy, Richard Hamilton was strongly associated with those art motifs. A collage made from photographs or photograph parts is called a photomontage. At the time, for many people Pop Art was difficult era to be understood. The images portrayed in the Pop Art movement were generally seen in other context and individuals had problems embracing the new art form. In 1957 Hamilton defined Pop art as: Popular (designed for a mass audience), Transient (short-term solution), Expendable (easily forgotten), Low cost, Mass production, Young (aimed at youth), Witty, Sexy, Gimmicky, Glamorous and Big business. But Richard Hamilton found different ways in which he engaged the public with his art. His influence of Abstract Art was obvious in his works, which mostly consisted of collages and photomontages. The images used in order for him to produce a collage would have often been seen in other artistic works in the past; but Hamilton would manipulate them and make look unique. One of the first examples in Pop Art and Hamiltons most famous collage / photomontage is Just what makes Todays Homes so Different, so Appealing. In August 1956, an art exhibition opened its doors to the public. The exhibition hearing after the name This is tomorrow, took place in the Whitechapel Art Gallery, in London. The aim of this exhibit was o present new ideas to the public rather to a certain group of people. These new ideas exhibited would accommodate new, exiting and futuristic aspects which were introduced in the everyday life of an individual. For example aspects of Cinema, Comic books, Pop music, Science fiction and even the unforgettable, sexy Merlin Monroe were present; The exhibition was a space surrounded with playful imagery, music and even some shocking aspects which would make the public wonder about what Tomorrow would bring to their lifes; Richard Hamiltons collage Just what makes Todays Homes so Different, so Appealing, was created for the purposes of advertising posters and catalogue for the exhibition. Even though the artwork, consisting if collage and photomontage was only creating for commercial use, it was one of which made the British Artist famous; As mentioned in the side text, Richard Hamilton would recycle work of others, or imagery seen elsewhere; this is quite predictable, as collage can be alternatively described as a way of recycling imagery, text and photographs from other sources; but in this particular example of the collage pictured above [Just what makes Todays Homes so Different, so Appealing ], the title itself is reused; the original quat derives from an advert starting: just what is it that makes todays homes so different, so appealing? Open planning of course and a bold use of colour. all components of the collage are taken from popular 1960s adverts; The rear surface of the collage had been originally seen in the advert for Armstrong floors company floor surface types; the particular image was found in the Ladies Home Journal. Secondly, the young semi naked male, pictured holding a tennis racket, is the famous Irwin Zabo Koszewski, body builder. [photograph taken from Tomorrows Man magazine]. The woman sitting on the sofa at the rear right side of the artwork is believed to be artist Jo Bear. Opposite, on the left side, the element of the staircase accommodating a young female cleaner, was taken from the advertisement of the new, at the time, Constellation model of a hover. The painting / picture, which is hanging on the rear wall if the interior pictured in the collage, Young Romance, is part of an advert in Young Love. Below there is a television; produced be the Stromberg Carson company (1955). But not all the element accommodated within this collage are exactly cut and pasted in order to create this Pop image; Richard Hamilt on has modified certain parts, which without any hesitation contain a secrete meaning within them; in order to make this more clear, the rug, behind the young bodybuilder is actually a blown up image of the Whitley Bay Beach crowed; lastly on the ceiling of the interior, the image of the earth emerges; most probably this photograph is taken from the Life Magazine [September 1955 edition]. There may be different meanings hiding in this collage. But my personal view ion this artwork, is based on the promotion of the perfect home and family. During the period of the 1960s all was based on the visual aspects of life, new elements in the entertainment field of the public culture were been modified and everything was surrounding the new popular and exiting; cinema, magazines with shocking playful and colourful imagery were incorporated in peoples daily routines; Based on the collage Just what makes Todays Homes so Different, so Appealing , I believe that the artist is trying to portray the Perfect couple. A young , hansom, muscular male, with a sexy, beautiful woman by his side; elements of taking care if the physical body condition of both parties are suggested through the element of the tennis racket; Now there is the opportunity for the female to be the lady of the house; economical changes are suggested; now cleaners can be hired to keep the house in its perfect / clean condition and women can start taking care of themselves. Photographs were a major inspiration for Hamilton works; elements of advertising, film, photography, fashion, music, style, mass media, TV etc were always precent in his work. During the 60s R.Hamiltons works took on a more domestic feel. He was portraying interior spaces which were very similar to the scene of a film set. Some would characterise his work ironic, but for Hamilton that was not the case. By applying in his work imagery seen in the wider public and mass media environment, he addressed a problem which the outside world was facing and at the same time he would picture its possible solution. Hamilton explained in 1968: One wasnt just concerned with a car and the idea of speed but [with] the way it was presented o us in the mass media presenting a glamorous object by all the devices that glamorous advertising can add. The Pop paintings are anthologies of the mechanics of visualisation. Maybe it is not only about the entrainment and the economical but also about the political changes taking place at the time; women are becoming more important and have a say in different important matters; every home should accommodate the newest designs of furniture and electrical facilities; (TV, Hoover, Tape recorder) The perfect home sheltering the perfect couple The images of the earth on the ceiling of the interior may suggest that even in such a house, with all its fashionable and great conditions, it is actually what everyone feels within it; our house is our world; American, visual artist, Christian Marclay, concentrates on exploring the connections that may exist between music, sound and photography. He transforms sound into visual and physical form; this is represented by video, photography, sculpture etc. One of Christian Marclays projects was the Body Mix Series (1991). The project consisted of several album covers, which were collaged in such a way, in which a whole new image immerged through the stitched together pictures. One of those Frankenstein images, named Doorsiana, consisted of six different covers, one of which was the face of Jim Morrison and Diana Rosss left arm, in connection with several other albums. Seliger: It seems that from the start your work has always had a lot to do with collage, both in performance and with the objects. Marclay: Yes. Ive always used found objects, images and sounds, and collaged them together, and tried to create something new and different with what was available. To be

Inclusive Infinity and Radical Particularity: Hartshorne, Hegel and Nis

Inclusive Infinity and Radical Particularity: Hartshorne, Hegel and Nishida ABSTRACT: God, or in Nishida’s case Buddha-nature, is frequently conceptualized as relating to the world by including it within the Infinite. Particular elements within the world are not seen as existing in absolute differentiation or total negation from Spirit, God, or Absolute Non-Being. The Many are not excluded but are, on the contrary, included within the One. The logic by which the One includes the Many is a logic of manifold unity, or, as Hegel quite confidently puts it, true infinity as opposed to spurious infinity. I will argue that such a logic of inclusive infinity is operative in Hartshorne, Hegel and Nishida. Each uses different terminology and writes with different systemic emphases, but as applied to God or the Ultimate, the function and consequences of the logic of inclusivity are strikingly similar for all three philosophers. Although infinite inclusivity provides a way of unifying the chaotic diversity of existence into a rational totality, there are central questions that have remained unanswered in the three metaphysicians. Primary among them is the question that sums up within itself many of the others: the problem of radical particularity. The particular elements of the world which are claimed to be included within the parameters of the Ultimate are just that: particular fragments of reality. I argue that their particular nature makes it impossible for the Infinite to incorporate them within its purview without raising serious difficulties. God, or in Nishida's case Buddha-nature, is frequently conceptualized as relating to the world by including it within the Infinite. Particular elements within the world are not seen as ex... ...oblem of including evil but of including within God's essence contradictory experiences such as joy and sorrow, pain and pleasure at the same time. Is it really possible that the Ultimate fully experience each element it contains even when there are a myriad number of elements of the opposite type? Yet the problem of radical particularity is even deeper. It is not just a matter of including evil, nor of including contradictory experiences, but of including any finite experience within the Ultimate. The Infinite cannot become finite because finite things are finite. I will concede that there may be a metaphysical solution to the problem of radical particularity that may have eluded the present analysis. I have not proven that inclusive Infinity is impossible, merely that there is a significant problem with its conceptualization that has not been adequately addressed.

Northern NGOs

In this research paper we look at the involvement of Northern NGOs with the developing countries. They are prime donors of most developing countries programs which are geared towards alleviating the welfare of the masses such as improve health and living condition.Local NGOs have been involved as intermediaries between government and the people.The northern NGOs serve their specific agenda and mandate contrary to what the poor rural urban expect.NORTHERN NGOSNorthern NGOs represented international organizations who are donors to developing countries that are are donors such as World Bank and private agencies. Their relation with the south makes it the subject of this research paper. The relationship with governments and nongovernmental organization with them plays a critical role in understanding their mandates and objectives in helping the population in the rural and urban regions.The urban and rural populace has diverse needs ranging from health, unemployment, education, poverty an d access to other services. In this respect governments have been unable to provide these services to their community in an effective and wider coverage manner. For instance, in South Africa, 30 % of the population are unemployed and for the 20% of the poorest households, 53% ere unemployed (Adato & Haddad 2001, p.1).It is also reported that there is need for job creation in all regions inhabited by the poorest households i.e. urban, metropolitan and rural. Based on these facts the governments of countries in the developing world have focused their programs to alleviate these problems e.g. the welfare of the masses, improve living condition, health and service provision (Li 2005).The programs have achieved different success margins and limitations. Most of government programs are constrained in reaching the people because of bureaucracy, authoritarian rule and high cost of implementation. Since most of the programs are financed by international community (Northern NGOs) and governme nts.For instance, in Indonesia the World Bank has developed social development programs to help them achieve their mandate and objectives. In order to do these, they have used analysis of the needs of the regions to come up with the plan. Due to constraints in working with the government directly they have supported and strengthened the local NGOs and civil society organizations (CSOs) to advance their objectives (Li 2005).The rationale use includes improving transparency in village planning level, conflict resolution and step sponsorship of NGOs. However NGOs have their own limitations such as the leaders use as a vehicle for reformation of social and political life. The World Bank has used neo-liberal system to ensure ‘good governance’ by instituting a competitive process based on administrative and decentralized structures (Li 2005).More so in order for the region to be eligible for support from World Bank it had to proof that it is pro-poor and is supervised by the World Bank team. According to Arya (1999) he explains the role in which NGOs have worked with their government under the funding of donors (government agencies, private agencies and governments). The common objectives for the collaboration include; access to technical resources, gain legitimacy or recognition from the people, obtain appropriate solution and developmental problems, enhance people’s participation and provide   better accountability, transparency and public reform system (Arya   1999).Donors view NGOs as intermediaries or transitory to government links to people and use them to as instruments of improved service delivery and outreach to the government. The donors see their task as completed when NGOs are involved in the project programs with the government. Most private donors do not support or supervise the selection criterion even when there is resistance from the government. However, they can play a key role in establishing mechanism to bring NGOs so that they have a beneficial effect on service delivery, participation and decentralization (Arya 1999).Northern NGOs for the past decade have increased funding to southern NGOs with due to limitation effectiveness of delivery, reforms, cost efficiency, sustainability and participation from the government. DeGabriele (2002), when studying about improvement of community based management projects. He previewed the World Health Organization commitment to provide access to safe and clean water.But from the experiences gathered two challenges emerged; water accessibility could not be achieved with the rate of population growth and the intended improvements to health were not realized within 1980 – 1990 decade. This becomes the redefinition of the concept of community management within water sector. It was realized that water accessibility could only be achieved with participatory role implemented (DeGabriele 2002).AED (1998) elaborates on the participatory approach used to i.e. the par ticipatory learning and Action approach which involves communities to analyze their needs, identify possible solutions and develop, implement and evaluate the plan of action. In contrast NGOs can have negative implication to the poor because they can use them to legitimize their existence, solicit funds and raise their profile for the disadvantage of the poor. Changes in their positive attitude will go way to bring positive results (AED 1998, Kaiser 2000, p. 6).CONCLUSIONNorthern NGOs play critical role in financing development programs to developing countries. They have been involved directly or indirectly with government depending on the nature and intensity of the resources used and the origin of the donor. Most private agencies finance the local NGOs who are viewed as intermediaries or transitory link between the government and people. The donors have used them to enhance their agenda and mandate to ensure good governance of project- programs they agree with the government. REFE RENCEAdato, M.; Haddad, L, 2001, Poverty targets, community-based public works programs: a cross-disciplinary assessment in South Africa, International Food Policy Research Institute (IFPRI). Available from: http://www.ifpri.org/divs/fcnd/dp/papers/fcndp121.pdf> [8 April 2008]AED, 1998, Empowering communities: participatory techniques for community-based programme development, Academy for Educational Development, Washington DC, AvailableArya, V, 1999, Towards a relationship of significance: lessons from a decade ofcollaboration between government and NGOs in Rajasthan, India,   Agricultural Research and Extension Network (AgREN), Available from: [8April 2008]DeGabriele, J, 2002, Improving community based management of boreholes† a case study from Malawi Land Tenure Centre, University of Wisconsin-Madison, Available from [8April 2008]Kaiser, T, 2000, Participatory & beneficiary-based approaches in evaluation ofhumanitarian programmes, Evaluation and Policy Analysis Unit (EPA U), UNHCR, Available from :< http://www.unhcr.org/research/RESEARCH/3c7527f91.pdf> [8April 2008]Li, T, 2005, The government through community; the World Bank in Indonesia, University of Toronto, Available from: [8April 2008]

‘Of Mice and Men’ By John Steinbeck Essay

‘Of Mice and Men’-By John Steinbeck is a story involving two very different main Characters-George Milton and Lennie Small, who are trudging difficulty through life with a dream to someday own their own ranch. One of the main themes over the course of the novel is loneliness, and this is quickly introduced within the first chapter or two, as well as giving us an insight as to what life was like during the depression (1929-1938). As Lennie is very simple minded, he is always getting into trouble, and at once point Lennie and George found themselves fleeing from their old working situation in Weed. They later find themselves work on another ranch, where we meet many other characters living similar lives full of unhappiness and despair. We meet the old swamper- Candy, who has only one working hand after getting one caught in a machine. It is here that we begin to get an idea of the lonely life Candy leads, considering he only has one companion- his dog, which was later put out of its misery by another ranch worker who saw it as unfit and a nuisance to itself. Another example of an unhappy character is the stable buck- Crooks. Crooks falls victim to racial discrimination and finds himself living in almost complete solitude because he is black. It seems as though Crooks will always lead a terrible and hopeless life because of the little to no respect or acknowledgement that the other ranch workers give him. The only way Crooks could make companion would be to find another black person, which does not seem very likely. Years of disrespect and neglect from those around him have turned Crooks into a mean and insecure man with absolutely no rights whatsoever! However, he retreats to his reading and his work, looking after the horses. Crook’s does also play horse-shoes, which the men praise him for as he was very skilled in the game. Furthermore, the wife of the boss’s son- known only as ‘Curley’s Wife,’ experiences sexual discrimination. She lives on a ranch where the majority of the people of the people are males, with nothing to do but play records or wander about the ranch looking for somebody to talk to. We learn how Curley’s Wife is trapped in a loveless marriage and how dreams that she could have made much more of herself by perusing her career as an actress had she have not married Curley. In the novel she is not given a name and this shows readers just how insignificant she is to Curley, as well as the other ranch workers. Most of the characters experience some type of prejudice at some point throughout the novel. The only person to really seem happy with the way their life is going si Slim- who is looked up to bye everyone working at the ranch including Curley. Curley’s wife, Crooks and Candy are all lonely with no real friendships with anybody. Although it may seem George and Lennie are unhappy or angry, they are never lonely because they have each other. The thought of someday owning their own ranch pushes them to keep working in such poor conditions, earning only $50 a month! I felt sorry for most of the characters (excluding Curley) as they did not have much to show for the lives they have lived so far with little or no chance of marriage, or remarriage. During this novel, readers experience such themes as racism, prejudice, and discrimination, as well as learning just how lonely and hopeless life seems without having any friends or companions.