A Gathering Of Old Men: Importance Of Standing Up For Oneself

â€Å"If you fell down yesterday, stand up today†. This quote by H. G. Wells is seen in the novel A Gathering of Old Men. The novel, taking place in the 1970s, was in a time in which African-Americans still suffered heavy discrimination. After years of taking this abuse, when an incident comes in which a white man lays dead at the hands of a black man, which would eventually call for a lynching, the discriminated unite. They show that despite their tortured past, they still possess their bravery, power, and pride.This dramatic novel by Ernest J. Gaines, A Gathering of Old Men, written in a critical tone employs the use of characterization, flashbacks, and symbolism to express the theme that there comes a time one must stand up for him or herself. In the book, a character named Mathu is one who does not falter in up keeping his pride. From the very beginning, he never let anyone insult him because of his African-American heritage. He always stands up for himself, even facing a white man, and never faltered, even when he was sent to jail.Because of this attitude, Mathu was respected even by some white men like Mapes who â€Å"knowed Mathu had never backed down from anybody, either. Maybe that’s why he liked him† (Gaines 84). Mathu was like a strong rock, the attempts of others at making him submit were but pebbles against his overpowering pride and dignity. A character that Mathu attempted to instill some lessons on becoming a man was Charlie. Charlie, despite his mild character was a large man towering at 6feet 7inches and weighing 275 pounds.Beau Boutan, Charlie’s boss and some others often ridiculed him with names like â€Å"Big Charlie† and â€Å"nigger boy† because of his mild character (Gaines 187). Charlie however, after observing Mathu’s strong pride and refusal to let anyone step over that pride, eventually gained some courage to stand up for himself. After he killed Beau and ran away, he came back and was ready to atone for his deed. Gaines used this event in the novel to show that even though people might be insulted and beat down, they can still gain enough courage to stand up for themselves.When Charlie did stand up for himself, and became, in his eyes, a man, that eventually led to his death. Gaines’s killing off of Charlie after he started standing up for himself was alluding to the idea that when people make a stand, they must be careful not to overdo it, like Charlie did, or there might be unfavorable results. Another character of interest is Candy. Candy is the owner of the place in which all the men gather, and the organizer of the gathering. At first, Candy seems to be genuinely worried about the people in Marshall, saying â€Å"’No I won’t let them harm my people’†¦ ‘I will protect my people.’† (Gaines 19).However, as the story progresses Gaines shows that Candy’s motives may not have been as good-natured as firs tly suggested. It’s eventually revealed she does not care much for the other men gathered in Mathu’s yard, but only for Mathu himself. While she showed little emotion when the other men were called up to Mapes and hit, she was quick to react when Mathu was called. Gaines also showed Candy’s true nature in the event when Clatoo wanted to talk to the men inside Mathu’s house, without Candy.At this point, Candy threatened to have all the men who followed Clatoo kicked out of the Marshall place, their only home. Gaines portrayed Candy in this way to show in this time, the idea of oppressing people still existed in the minds of even those who seemed good-natured. Finally, Gaines creates a complex character out of Mapes. Mapes is a character who experiences a change during the story. When he first arrives at the site of Beau’s death, and the gathering of the old men, he acts with the same mindset of the Cajuns in that time.His first response to the scene is violence. He attempts to gain information from the old men by hitting them. Eventually, when he realizes violence will produce no results, he lets them tell their stories. The prominent change in Mapes is shown at the time Luke Will and his crew arrive with the intent of hanging Beau’s killer. Mapes attempts to protect Charlie and the rest of the men, saying â€Å"’Go home, Luke Will’† after Luke Will demanded he hands Charlie over to him (Gaines 195).When Luke Will ignored Mapes and started a shoot out between his crew and the old men, Mapes resigned control of the situation to the old men and Charlie. Gaines used this to show that the mindset of people can change for the better. In the instance that Mapes trusted the old men and Charlie with the situation, he recognized them not as people of a lesser racer, but respectable and trustable men, showing that old men’s attempt at standing for themselves was able to change a man.Gaines also employs the use of flashbacks in the novel. The main role the flashbacks play is to show the hardships and discrimination the African-Americans faced in that time. When Uncle Billy, one of the old men who gathered to finally stand up for himself after many years, was asked by Mapes the sheriff his reason for killing Beau, as all the old men claimed to have killed Beau, he recalled an event that happened years before. â€Å"’What they did to my boy’†¦ ‘The way they beat him.They beat him till they beat him crazy†¦Ã¢â‚¬â„¢Ã¢â‚¬  (Gaines 80). Gaines introduced this flashback to show the brutality suffered by the blacks at that time, and that it spared no one, not even a child. Another flashback was by Johnny Paul, who remembered back to a time when they had all lived as a community, till Beau and his tractor came to plow it all up. Johnny Paul was referring to this time when he confused Mapes by saying â€Å"’But you still don’t see. Yes, sir, wh at you see is the weeds, but you don’t see what we don’t see. ’† (Gaines 89).Johnny Paul was talking about how the weeds and rotting houses had replaced what was once a place of happiness, and brotherhood among the black families living there. Gaines uses this flashback to show what was taken from the African-Americans in the novel, to better explain their need to stand up for themselves. Tucker, one of the old men, goes into a flashback of his own. He remembers a time his brother and two mules, beat a white man and a tractor. The white man and his friends however said Tucker’s brother had cheated, and beat him with canes.Gaines adds this flashback to portray the obvious distinction between whites and blacks in that time. African-Americans were thought to be less of people than the Cajuns, so for this lesser person, Tucker’s brother Silas, to beat the supposedly superior white man was unthinkable. Like Tucker said, â€Å"’†¦and b ecause he didn’t lose like a nigger is supposed to lose, they beat him’† (Gaines 97). In that situation a scared Tucker didn’t stand up for his brother, and they beat him to his death.Gaines uses this flashback to show the results of the old men being walked over by the Cajuns, and doing nothing about it. Gable also reminisces about his unfortunate past. He remembers the Cajuns sentencing his sixteen year old son to the electric chair, â€Å"on the word of a poor white trash† (Gaines 101). He remembers the indifference the Cajuns displayed in killing his son, watching his death, and leaving as though it was a â€Å"card game† (102). Through this flashback, Gaines shows again how the cruelty of the Cajuns didn’t spare any ages.He also shows how little the word of a black man counted over that of a white man or woman. When his son was being sent to electric chair, Gable couldn’t do anything but beg the Cajuns. Gaines then ties thi s back to the importance of the men standing up to their tormentors, hinting such events could possibly have been avoided if they had stood up to their oppressors. Finally, Gaines utilizes symbolism in his novel to express the theme. Throughout the novel, a constant symbol that repeatedly came up was the tractor.The tractor was what Beau Boutan was riding when he came after Charlie. The tractor was also what drove many of the African-Americans on the plantation out of work and away from their homes. Finally, the tractor was what the Cajun, Felix Boutan, rode when he was beat by Tucker’s brother, Silas, which led to Silas being beat to death. The tractor symbolizes one of the main tortures of the African-American community in Marshall. It drove them out of work, drove them out of their homes, and eventually led to their death, in the case of Charlie and Silas.Gaines added the tractor and all it symbolized to be another motivator to the old men to make a stand. Another symbol w as the shotguns that the old men had. The shotguns’ empty shells in the beginning symbolized the weakness and ineffectiveness the old men had at the start of the story. In letting themselves to be walked over, and offering no resistance, they were as useless as the shotguns with empty shells they held in their hands. However, as the story progressed, when it came time to fight, the men had fully loaded shells and were ready for war.This symbolizes the change they went through. From being old useless men with no impact, they were able to make a difference, and have an impact. By standing up for themselves, they displayed their power and pride, which eventually even affected Luke Will, who â€Å"looked worried, real worried† when he realized their conviction (Gaines 205). Concluding, with the use of characterization, flashbacks, and symbolism, Ernest J. Gaines expressed the theme that there comes a time one must stand up for him or herself throughout the book.This theme was expressed through the characters Mathu, who always stood up for himself, Charlie, who learned to, and Candy and Mapes who were characters that were a motivator to the old men standing up for themselves. Gaines used the flashbacks to better portray the importance of the African-Americans in the area standing up for themselves, and he used symbolism to show one of the major torments of the people, and the change the old men went through. By standing up for themselves, the old men not only displayed their power and pride, but also seized hold of their future for themselves and their generations to come. A Gathering of Old Men: Importance of standing up for oneself â€Å"If you fell down yesterday, stand up today†. This quote by H. G. Wells is seen in the novel A Gathering of Old Men. The novel, taking place in the 1970s, was in a time in which African-Americans still suffered heavy discrimination. After years of taking this abuse, when an incident comes in which a white man lays dead at the hands of a black man, which would eventually call for a lynching, the discriminated unite. They show that despite their tortured past, they still possess their bravery, power, and pride.This dramatic novel by Ernest J. Gaines, A Gathering of Old Men, written in a critical tone employs the use of characterization, flashbacks, and symbolism to express the theme that there comes a time one must stand up for him or herself. In the book, a character named Mathu is one who does not falter in up keeping his pride. From the very beginning, he never let anyone insult him because of his African-American heritage. He always stands up for himself, even facing a white man, and never faltered, even when he was sent to jail.Because of this attitude, Mathu was respected even by some white men like Mapes who â€Å"knowed Mathu had never backed down from anybody, either. Maybe that’s why he liked him† (Gaines 84). Mathu was like a strong rock, the attempts of others at making him submit were but pebbles against his overpowering pride and dignity. A character that Mathu attempted to instill some lessons on becoming a man was Charlie. Charlie, despite his mild character was a large man towering at 6feet 7inches and weighing 275 pounds.Beau Boutan, Charlie’s boss and some others often ridiculed him with names like â€Å"Big Charlie† and â€Å"nigger boy† because of his mild character (Gaines 187). Charlie however, after observing Mathu’s strong pride and refusal to let anyone step over that pride, eventually gained some courage to stand up for himself. After he killed Beau and ran away, he came back and was ready to atone for his deed. Gaines used this event in the novel to show that even though people might be insulted and beat down, they can still gain enough courage to stand up for themselves.When Charlie did stand up for himself, and became, in his eyes, a man, that eventually led to his death. Gaines’s killing off of Charlie after he started standing up for himself was alluding to the idea that when people make a stand, they must be careful not to overdo it, like Charlie did, or there might be unfavorable results. Another character of interest is Candy. Candy is the owner of the place in which all the men gather, and the organizer of the gathering. At first, Candy seems to be genuinely worried about the people in Marshall, saying â€Å"’No I won’t let them harm my people’†¦ ‘I will protect my people.’† (Gaines 19).However, as the story progresses Gaines shows that Candy’s motives may not have been as good-natured as firs tly suggested. It’s eventually revealed she does not care much for the other men gathered in Mathu’s yard, but only for Mathu himself. While she showed little emotion when the other men were called up to Mapes and hit, she was quick to react when Mathu was called. Gaines also showed Candy’s true nature in the event when Clatoo wanted to talk to the men inside Mathu’s house, without Candy.At this point, Candy threatened to have all the men who followed Clatoo kicked out of the Marshall place, their only home. Gaines portrayed Candy in this way to show in this time, the idea of oppressing people still existed in the minds of even those who seemed good-natured. Finally, Gaines creates a complex character out of Mapes. Mapes is a character who experiences a change during the story. When he first arrives at the site of Beau’s death, and the gathering of the old men, he acts with the same mindset of the Cajuns in that time.His first response to the scene is violence. He attempts to gain information from the old men by hitting them. Eventually, when he realizes violence will produce no results, he lets them tell their stories. The prominent change in Mapes is shown at the time Luke Will and his crew arrive with the intent of hanging Beau’s killer. Mapes attempts to protect Charlie and the rest of the men, saying â€Å"’Go home, Luke Will’† after Luke Will demanded he hands Charlie over to him (Gaines 195).When Luke Will ignored Mapes and started a shoot out between his crew and the old men, Mapes resigned control of the situation to the old men and Charlie. Gaines used this to show that the mindset of people can change for the better. In the instance that Mapes trusted the old men and Charlie with the situation, he recognized them not as people of a lesser racer, but respectable and trustable men, showing that old men’s attempt at standing for themselves was able to change a man.Gaines also employs the use of flashbacks in the novel. The main role the flashbacks play is to show the hardships and discrimination the African-Americans faced in that time. When Uncle Billy, one of the old men who gathered to finally stand up for himself after many years, was asked by Mapes the sheriff his reason for killing Beau, as all the old men claimed to have killed Beau, he recalled an event that happened years before. â€Å"’What they did to my boy’†¦ ‘The way they beat him.They beat him till they beat him crazy†¦Ã¢â‚¬â„¢Ã¢â‚¬  (Gaines 80). Gaines introduced this flashback to show the brutality suffered by the blacks at that time, and that it spared no one, not even a child. Another flashback was by Johnny Paul, who remembered back to a time when they had all lived as a community, till Beau and his tractor came to plow it all up. Johnny Paul was referring to this time when he confused Mapes by saying â€Å"’But you still don’t see. Yes, sir, wh at you see is the weeds, but you don’t see what we don’t see. ’† (Gaines 89).Johnny Paul was talking about how the weeds and rotting houses had replaced what was once a place of happiness, and brotherhood among the black families living there. Gaines uses this flashback to show what was taken from the African-Americans in the novel, to better explain their need to stand up for themselves. Tucker, one of the old men, goes into a flashback of his own. He remembers a time his brother and two mules, beat a white man and a tractor. The white man and his friends however said Tucker’s brother had cheated, and beat him with canes.Gaines adds this flashback to portray the obvious distinction between whites and blacks in that time. African-Americans were thought to be less of people than the Cajuns, so for this lesser person, Tucker’s brother Silas, to beat the supposedly superior white man was unthinkable. Like Tucker said, â€Å"’†¦and b ecause he didn’t lose like a nigger is supposed to lose, they beat him’† (Gaines 97). In that situation a scared Tucker didn’t stand up for his brother, and they beat him to his death.Gaines uses this flashback to show the results of the old men being walked over by the Cajuns, and doing nothing about it. Gable also reminisces about his unfortunate past. He remembers the Cajuns sentencing his sixteen year old son to the electric chair, â€Å"on the word of a poor white trash† (Gaines 101). He remembers the indifference the Cajuns displayed in killing his son, watching his death, and leaving as though it was a â€Å"card game† (102). Through this flashback, Gaines shows again how the cruelty of the Cajuns didn’t spare any ages.He also shows how little the word of a black man counted over that of a white man or woman. When his son was being sent to electric chair, Gable couldn’t do anything but beg the Cajuns. Gaines then ties thi s back to the importance of the men standing up to their tormentors, hinting such events could possibly have been avoided if they had stood up to their oppressors. Finally, Gaines utilizes symbolism in his novel to express the theme. Throughout the novel, a constant symbol that repeatedly came up was the tractor.The tractor was what Beau Boutan was riding when he came after Charlie. The tractor was also what drove many of the African-Americans on the plantation out of work and away from their homes. Finally, the tractor was what the Cajun, Felix Boutan, rode when he was beat by Tucker’s brother, Silas, which led to Silas being beat to death. The tractor symbolizes one of the main tortures of the African-American community in Marshall. It drove them out of work, drove them out of their homes, and eventually led to their death, in the case of Charlie and Silas.Gaines added the tractor and all it symbolized to be another motivator to the old men to make a stand. Another symbol w as the shotguns that the old men had. The shotguns’ empty shells in the beginning symbolized the weakness and ineffectiveness the old men had at the start of the story. In letting themselves to be walked over, and offering no resistance, they were as useless as the shotguns with empty shells they held in their hands. However, as the story progressed, when it came time to fight, the men had fully loaded shells and were ready for war.This symbolizes the change they went through. From being old useless men with no impact, they were able to make a difference, and have an impact. By standing up for themselves, they displayed their power and pride, which eventually even affected Luke Will, who â€Å"looked worried, real worried† when he realized their conviction (Gaines 205). Concluding, with the use of characterization, flashbacks, and symbolism, Ernest J. Gaines expressed the theme that there comes a time one must stand up for him or herself throughout the book.This theme was expressed through the characters Mathu, who always stood up for himself, Charlie, who learned to, and Candy and Mapes who were characters that were a motivator to the old men standing up for themselves. Gaines used the flashbacks to better portray the importance of the African-Americans in the area standing up for themselves, and he used symbolism to show one of the major torments of the people, and the change the old men went through. By standing up for themselves, the old men not only displayed their power and pride, but also seized hold of their future for themselves and their generations to come.

Zumba

Sydney Trumbo An Evaluation: My Zumba Class Experience My weekly workout routine typically consists of running on the treadmill for an hour three days a week and using weights to strengthen my upper body and core two days a week. The gym I belong to provides a variety of exercise classes; however I do not take advantage of this perk. When it comes to coordination I am a bit â€Å"challenged. † It takes me longer to understand and follow the instructor’s directions. The thought of making a fool out of myself in front of a group of people causes me a great deal of anxiety.My major concern has always been that I will not be able to keep up with the instructor or the other class participants. If infomercials are an indication of the current trends in exercise then Zumba seems to be fairly popular. While scanning T. V. channels late at night I often come across an infomercial for this upbeat dance workout. Taking one of the Zumba classes my gym offers seemed like a good choi ce for my evaluation assignment. One reason for my decision was to force myself to focus on the cardio workout I would get rather than whether or not I was making a fool out of myself.I also wanted to see if Zumba was as enjoyable as the infomercials made it look. I did a little research on Zumba before taking the class. I wanted to get an idea of what this new exercise craze was all about. It actually started back in the 1990’s, when a dance instructor, Alberto Perez, forgot the music he was supposed to use for an aerobics class. He ended up improvising his dance class, by using merengue and salsa music instead. After seeing the success it had in Colombia, Perez moved to the United States in 2001 in an attempt to get his new dance concept discovered. Zumba became a huge hit among the fitness world.It includes slow and fast rhythm dances, and is essentially available to all ages because of the wide range of classes available. When it comes to the Zumba class offered at my gym , I assumed it would be designed for physically fit individuals between the ages of 16 and 55. Prior to taking part in an actual Zumba class I had a few preconceived ideas about what to expect. I thought the class would require wearing a special type of workout clothing. I believed the instructor would most likely be a professional dancer whose choreography would be paired with upbeat Spanish songs and consist of challenging moves.The dance steps the class would require would probably be modern day salsa and cha-cha; neither of which I find that exciting. I attended my first Zumba class on Sunday, February 17th. By the end of the first song I had quickly ruled out all of my preconceived ideas. The Zumba class took place in an extremely spacious room which allowed everyone in the class to have their own personal bubble. Mirrors covered all four of the walls, making it a bit awkward and impossible not to watch myself dance. Before the class began, I was complaining about how cold the room seemed.After the first routine I was thankful for the colder temperature. As far as I could tell the only â€Å"equipment† necessary for a successful Zumba class was music. As the room began filling up with participants it became apparent I was going to be the youngest. The group consisted of about fifteen women ranging in ages from the mid-twenties all the way to the late fifties. No one wore specialized Zumba clothing. In fact the majority of exercise attire worn was a plain tee-shirt, yoga pants and a good pair of tennis shoes.On the Zumba commercials, the attendees were all wearing bright colored tanks tops with â€Å"ZUMBA† written across them, colored cargo pants, fun-beaded skirts and leggings. I was not surprised that my classmates had a different wardrobe from those on the commercial. The clothes were probably used as an advertising technique to get people interested in the exercise. Everyone attending the class seemed to be in decent shape implying that this class for the physically fit. Danica, our Zumba instructor, literally ran in the room at exactly 4:30 PM.She had a welcoming smile and was quite observant. She noticed that a couple of us were not regulars to her Zumba sessions. Before we started dancing, Danica explained the basics of the class. She stated that it was not a dance competition and the main goal of Zumba is to be constantly moving in order to achieve a high calorie burn. She reviewed dance moves that she thought might be hard for new people to pick up right away. She reiterated that the most important thing is that we keep moving for the entire hour. After asking if everyone was ready to begin she turned on the music.The first dance was Pitbull’s â€Å"Don’t Stop the Party†; I was not expecting the music to consist of popular songs that could be heard on the radio. Danica would shout out the direction we were going making all her moves very simple to follow. She had us jumping in every direct ion, sliding from right to left, punching the air, marching forward and backward; by the middle of the song, everyone was dancing in a synchronized pattern. I did find myself lost on a few moves, but I just repeated previous steps until I could get back into the swing of things.Even though I consider myself to be in fairly good physical shape I was sweating and panting after the first song. Looking around the room, I could see as well as feel the entire class was pumped up and sending off positive energy. Danica was able to show a few moves to the next song before it started. I could tell it was going to be a bit more difficult than the first. It involved more jumping and slightly advanced foot work. But we were all laughing through our flaws and having a good time with the dance. Our instructor’s attitude and encouragement made my entire Zumba experience a great one.She would complement the moves we mastered, and would not discourage the dances that proved more difficult. Ev en though this was my first class, I was dancing as well as all the other classmates by the end. By the end of the class, we had danced to total of eight songs. They included Shakira’s â€Å"Waka Waka, This Time for Africa†, and Psy’s â€Å"Gangnam Style†. The last song, Enrique Iglesias’s â€Å"Tired of Being Sorry†, was our cool down song. Each song had its own chorography, making them unique and different. The class was an hour long and it managed to work out my entire body.Danica said that we burned about five hundred calories from all the moving around. Zumba did not require a lot of past acquired dance skills. I felt like a professional dancer, because I finally was able to follow moves that weren’t overly complicated. Flexibility was not a necessity but it is important to stretch out a few minutes before any exercise, especially one as involved as Zumba. I found one flaw which I could have avoided altogether. With the constant moving, I was extremely hot and sweaty; I would have to run to the drinking fountain.This caused me to lose my place in the dances, and I had to wait until I could catch onto the moves. As long as I remember a water bottle, this problem can be avoided. By end of the class, I could already feel the tightening of my muscles. I walked to the locker room with my legs feeling like Jell-O. I could hardly reach my locker because I could barely lift my arms above my head. I worked out my arms, abs, and legs all at once in Zumba. I did not leave the gym feeling overly tired so I had enough motivation to go home and continue on with my daily routine.The days of coming home and sleeping after an intense workout are now in the past. I came straight home and shared my fun-filled Zumba experience with my family. I would recommend Zumba to anyone looking for a new type of exercise. Riding the stationary bike or the elliptical every day starts to get boring, in my opinion. If you are looking to ste p out of your everyday workout routine, Zumba is the way to go. I do not however think it would be a positive experience for those who don’t enjoy exercising, or are in poorer shape. The nonstop moving could pose as a shock to bodies that are not used to cardio workouts.It would be a smarter choice for them to slowly work their way up through beginner classes. After having such a wonderful experience at my first Zumba class, I have every intention of attending as many as I can. It was not anything that I had expected; I did not think it would ever be possible to actually enjoy working out. But with the right attitude, an experienced and perceptive instructor, and a room full of fun people; Zumba is all around fun. It is an energetic class that makes for an exciting experience and improves your health, body and mind.

A Vine on the House

The words Mr. Harding expressed and the reality of the situation were two complete opposites. He kept a secret of his wife’s â€Å"disappearance† and also picked up everything and left, leaving no signs behind, leading to believe he was very secretive and suspicious. Secrets are kept in every household, things that could kill if it was leaked. I feel like the writer’s purpose was to keep the reader guessing and inferring. This story could also be an account of his life and a cry for help. Mr. Bierce grew up in a troubled family. His two sons died early on and he found out about his wife’s infidelity. This could be his way of plotting revenge on his wife. It is a cry for help because he mentions Mr. Harding disappearing, which is exactly what Bierce did a few years later. The intended audience is for those who enjoy getting goose bumps, those who seek a thrill and love being kept in the dark. It is not however for the uneasy sleeper. The main theme of this story and connection on a universal level is that in every family, there is a fair share of secrets. Everyone can relate to this one way or another because we all have issues we wished no one would find out. The Harding family as a whole must’ve had a few problems of their own. A family doesn’t just all of a sudden fall apart. It takes time to disintegrate. In the story, like in real life, it shows that there are unhappy couples out there, ones who have stopped loving each other and instead find pleasure in hurting their significant other. The Harding family is just one example of a relationship that is unhealthy, both physically and emotionally. The author has quite a few tricks up his sleeves to grasp the reader’s attention. First of all, Mr. Bierce is an expert in the suspense category. He keeps readers guessing and wondering what will happen next. For example, Mr. Harding mentions his wife went to â€Å"visit relatives† but his tone of voice allowed no further questioning. This makes me curious because he seems like he’s hiding a dark secret. He also later on flees the country, which gathers even more curiosity. Mr. Bierce describes the â€Å"haunted house† as not actually haunted, making me wonder what truly happened for it to deserve such a title. He also pulls in elements from his life. This story is loosely based on his own family matters. He could also be a â€Å"revenge† for finding out about his wife’s sinful actions. A Vine on the House has supernatural aspects but because the events were pulled from his life, it makes the story seem more realistic and feel like it could potentially be a true story. Another aspect that I enjoyed was that, yes this story is gothic, but the gothic elements were all very subtle and mind boggling but not gory. There was no mentions of diseases, a small brush on incense and only one inferred death. This gives the story a different twist to the normal classical gothic tales. The author uses foreshadowing well. He describes Mrs. Harding in detail and left her disappearance very shocking and sudden leading to her inferred murder by her husband. He also described the wine along the house as a sign of the supernatural that was partly concealed, which indicated before hand that something out of the ordinary was going to happen. These are all red flags, leading to the discovery of the vine’s unnatural root formation. I enjoyed this short story very much. It was intriguing and kept me on my toes at all times. I enjoyed the suspense and the feeling of wanting to know what happens next. The one part that I was disappointed in was that I found the part where people were witnessing the phenomenon of the tree dragged on for a long time. My interest was lost during that time. However, I really enjoyed the idea that things are never what they appear to be and words spoken could just be a slur of lies. I find that this is completely true in today’s society. People don’t always show their true colours. The part I love was the cliff-hanger ending. It makes me wonder, could this all be a coincidence or could it truly happen in real life? If it could, then it was surely explain the phenomenon of a shaking leaf on a still tree. A Vine on the House The words Mr. Harding expressed and the reality of the situation were two complete opposites. He kept a secret of his wife’s â€Å"disappearance† and also picked up everything and left, leaving no signs behind, leading to believe he was very secretive and suspicious. Secrets are kept in every household, things that could kill if it was leaked. I feel like the writer’s purpose was to keep the reader guessing and inferring. This story could also be an account of his life and a cry for help. Mr. Bierce grew up in a troubled family. His two sons died early on and he found out about his wife’s infidelity. This could be his way of plotting revenge on his wife. It is a cry for help because he mentions Mr. Harding disappearing, which is exactly what Bierce did a few years later. The intended audience is for those who enjoy getting goose bumps, those who seek a thrill and love being kept in the dark. It is not however for the uneasy sleeper. The main theme of this story and connection on a universal level is that in every family, there is a fair share of secrets. Everyone can relate to this one way or another because we all have issues we wished no one would find out. The Harding family as a whole must’ve had a few problems of their own. A family doesn’t just all of a sudden fall apart. It takes time to disintegrate. In the story, like in real life, it shows that there are unhappy couples out there, ones who have stopped loving each other and instead find pleasure in hurting their significant other. The Harding family is just one example of a relationship that is unhealthy, both physically and emotionally. The author has quite a few tricks up his sleeves to grasp the reader’s attention. First of all, Mr. Bierce is an expert in the suspense category. He keeps readers guessing and wondering what will happen next. For example, Mr. Harding mentions his wife went to â€Å"visit relatives† but his tone of voice allowed no further questioning. This makes me curious because he seems like he’s hiding a dark secret. He also later on flees the country, which gathers even more curiosity. Mr. Bierce describes the â€Å"haunted house† as not actually haunted, making me wonder what truly happened for it to deserve such a title. He also pulls in elements from his life. This story is loosely based on his own family matters. He could also be a â€Å"revenge† for finding out about his wife’s sinful actions. A Vine on the House has supernatural aspects but because the events were pulled from his life, it makes the story seem more realistic and feel like it could potentially be a true story. Another aspect that I enjoyed was that, yes this story is gothic, but the gothic elements were all very subtle and mind boggling but not gory. There was no mentions of diseases, a small brush on incense and only one inferred death. This gives the story a different twist to the normal classical gothic tales. The author uses foreshadowing well. He describes Mrs. Harding in detail and left her disappearance very shocking and sudden leading to her inferred murder by her husband. He also described the wine along the house as a sign of the supernatural that was partly concealed, which indicated before hand that something out of the ordinary was going to happen. These are all red flags, leading to the discovery of the vine’s unnatural root formation. I enjoyed this short story very much. It was intriguing and kept me on my toes at all times. I enjoyed the suspense and the feeling of wanting to know what happens next. The one part that I was disappointed in was that I found the part where people were witnessing the phenomenon of the tree dragged on for a long time. My interest was lost during that time. However, I really enjoyed the idea that things are never what they appear to be and words spoken could just be a slur of lies. I find that this is completely true in today’s society. People don’t always show their true colours. The part I love was the cliff-hanger ending. It makes me wonder, could this all be a coincidence or could it truly happen in real life? If it could, then it was surely explain the phenomenon of a shaking leaf on a still tree.

Letter Essay Example | Topics and Well Written Essays - 250 words - 15

Letter - Essay Example Every year, some of these roots die. To maintain the richness and fertility of the soil, organic matter is added to the soil. The procedure commonly adopted to maintain the Air Station prairie is burning a portion of the prairie every two to three years. This procedures helps control the renewal of the native plants by protecting the prairie’s plants below the surface to form a good structure. This process allows the dead layer of soil that accumulates at the surface to be removed so that the soil can reach a certain temperature that is good for the germination of the seeds. Also, fire helps maintain an optimal number of plants in the prairie so that it does not become as dense as a forest. It is important to save the Air station Prairie because it contains plentiful of native plants. Native grasses and Forbes dominate this prairie such as cattails, sunflowers, blazing star and yellow coneflower. I strongly suggest that we maintain it because it has tremendous populations of the native species. In addition to that, the prairies are a great educational resources for scientists and for students and it should be well

Fiorello La Guardia Essay Example | Topics and Well Written Essays - 1000 words

Fiorello La Guardia - Essay Example However, in 1933, he became the mayor of New York. He introduced and implemented many infrastructural reforms that totally revamped the map of the New York City. In the subsequent parts of this paper, first, early life and education, political career and then reforms of La Guardia are described. Early life and education Fiorello Henry La Guardia was born on December 11, 1882 in the New York City. La Guardia spent most of his early life in Prescott, Arizona where he attended high school. He also passed his part of life in Hungary. Soon after his father’s death, he secured a job in the American consulate in Budapest, Hungary. In the year of 1906, he returned to New York and become an interpreter at Ellis Island and at the same time, he started and completed Law degree from the New York University in the year of 1910. Due to his Law degree and being an owner of visionary and dynamic personality, La Guardia turned to politics with an intention of serving the people of New York. Po litical career La Guardia became the mayor of New York City after serving in the U.S. House of Representatives (1917, 1918-21, 1923-33). After completing his education, La Guardia joined politics when he was elected as a Republican to the House of Representative in the year of 1916. In 1919, he was honored with the presidency of New York City’s Board of Aldermen. ... Reforms His reforms are permeated in economic, infrastructural, and political grounds. The New York City was experiencing worse economic condition, its budget was controlled and managed by bankers; and one in six New Yorkers subsisted on relief. The 1910 Census revealed that only 26,000 factories had employed three-quarters of a million people (Jeffers, 2002, pp.39). In order to revamp the economic condition, La Guardia introduced and implemented an Economy Bill, putting the city of New York on the road leading to financial stability and also by declaring a war on corruption by implementing measures strengthening merit basis of the civil service. And, at the same time, La Guardia established a humane relief policy. Modernizing the city of New York was envisioned by La Guardia. To meet the needs of a world class metropolis, he devised his ambitious plan for modern new infrastructure. First, La Guardia introduced urban vision to City Hall. As the population was rapidly growing, he clea rly embarked on such infrastructural strategy facilitating and fulfilling the needs of growing population without compromising the quality of life. In order to develop and construct new infrastructure such as bridges, subways, airports, public housing, slum clearance and street repair, he collected engineers, architects and building experts, suggesting each project with a realistic price label and plan for the generous utilization of relief labor (New York World Telegram, 1933). As the mayor of New York, he instead of supporting, fought against Tammany Hall, and, introduced more civic reforms through low-cost housing and social welfare services inside the city of New

Marriage Essay Example | Topics and Well Written Essays - 1000 words

Marriage - Essay Example Moreover, the arguments against same-sex marriage almost exactly track the arguments against interracial marriage, which shows that the evolution of marriage should go in the same direction – just as interracial marriage is accepted by the majority of people, so should same-sex marriage be. The History of Marriage   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The history of marriage, of course, would be the topic of a much longer discourse, so this section will only review the pertinent aspects of heterosexual marriage which impact the arguments for and against gay marriage.   Fox-Genovese (49) traces the history of marriage, stating that marriage began as a relationship between families, tribes and clans, as opposed to uniting individuals.   Marriage was transformed, however, into a right to enjoy certain benefits and privileges, along with community approval and recognition.   Fox-Genovese (50) begins her analysis of marriage by stating that Adam and Eve were created an d ordered to be fruitful and multiply, which was the basis for this original union.   In the Old Testament, women suffered greatly, as their husbands took concubines and fathered children with many other women.   At that time, marriage was mainly about families and tribes, not about the individuals themselves.   This motivation continued in pre-modern societies, as primitive groups, such as Hebrew tribes, used marriage as a way to strengthen their house.   Marriage was also typically used as a political solidification practice, as ruling families used marriage to strengthen their political rule.   Therefore, for most of millennia, marriage has been a pragmatic institution, not based upon love, but, rather, based upon economics and power consolidation.   This is shown by the pragmatics of marriage in consolidating power, and is also shown by dowries and bride prices, in which the potential husband literally paid for the privilege of marrying his future wife (Fox-Genovese, 53).   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Throughout these historical eras, women were subjected to patriarchy.   The man ruled the home, and, at least in the Old Testament cases, was able to take on multiple wives, concubines and lovers without censure.   Fox-Genovese (60) states that this patriarchy was lessened, somewhat, towards the end of the 19th Century, as women gained more equality in and outside the marital unit.   Eventually, marriage evolved from its pragmatic status to one that is more egalitarian and ostensibly based upon love.   Marriage is no longer merely a way to solidify power, or a way to gain economically. It is now considered to be a sacred bond between two people in love. The emphasis is now on personal happiness, not economics, power and social ties (Fox-Genovese, 61).   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Fox-Genovese (62) makes the case that marriage, historically, has been based upon practical concerns, and these concerns do not nec essarily focus upon what anti-gay marriage advocates insist are at the core of marital unions – the family and procreation.   Marriage has traditionally been based upon economic, social and political concerns, which seem to undermine the arguments against gay marriage. Another sound argument which is based upon an analysis of heterosexual marriage, which profoundly undermines the current bias against

Fundamentals of Leadership - BMW Case study Coursework

Fundamentals of Leadership - BMW Case study - Coursework Example The focus in this paper is on BMW as the most important competitor in the global automotive industry; the organization’s employees, for 2010, have been estimated to 95,453. The organization operates in about 34 countries. The success of the organization in the global market has been related to the leadership style of its leader, Joachim Milberg, who was appointed as the firm’s CEO in 1999. Milberg initiated the restructuring of organization’s operations promoting the alteration of organizational values and mission. The leadership style of Joachim Milberg is presented and evaluated in this paper; the trait leadership theory is used for explaining the success of Milberg as the leader of BMW. Other leadership theories, such as the Blake and Mouton’s Leadership Grid, the team leadership theory of Hill and the Skills approach of Katz have been employed for evaluating the characteristics and the effectiveness of leadership in BMW, as reflected in the continuous development of the organization in the global market. It is made clear that in BMW leadership has been used not just for developing effective organizational strategies but also for improving communication and cooperation across the organization; in other words, in BMW leadership has been a framework for supporting the transformation of the organization to a highly competitive one but also for enhancing the team working and the participation of employees in key organizational plans. 2.0 Leadership in BMW – Presentation and analysis 2.1 Evaluation of Joachim Milberg as a leader – leadership theory Joachim Milberg can be characterized as an exceptional leader. Since his appointment as the leader of Milberg, in 1999, Milberg managed to significantly improve the company’s performance, a target which was mainly achieved by emphasizing on the openness of the organization and the respect to the perceptions

Choices and Outcomes in Life Essay Example | Topics and Well Written Essays - 1250 words

Choices and Outcomes in Life - Essay Example Paul Graham insists that we have to do what we love. The three writers offer us some insights on how to approach and handle failures in life. Our backgrounds will always be different. Some are lucky enough to have a first class family while others would be lucky to have a roof over their head. Our beginnings are always different and how we perceive them shape the paths we chose in life. Although some quit hoping to find shortcuts in life, persistence is an important virtue if one has to succeed. Steve Jobs does well to underscore the fact that a tough beginning does not necessarily mean a rough ending. Having done so well in life, in the long run, he gets us back to the question of dreaming versus reality. He owns a company already, a multi-billion-dollar company. He asserts jokingly that addressing the graduates was closest he ever got to a college graduation. He walks us through his life even before he was born, and reminds us that some of us have a better chance of succeeding than him. He was in line for adoption as his mother would not afford to raise him. The parents in question never wanted a baby boy in the first place, and thus Jobs had another hurdle to deal with. With a biological mother who had graduated from college, finding adopters who would see the need for his college education was a priority. But many college dropouts don’t realize the need for such education to begin with.

Explain the differences between periodic and perpetual inventory Essay - 1

Explain the differences between periodic and perpetual inventory accounting - Essay Example First in first out (FIFO) requires that we evaluate the selling stocks on the basis of the cost of stocks purchased first. Thus, the cost of stock sold is determined by their first price. Calculation done according to the FIFO inventory system is shared below. For example, we sold 130 units of goods for $240. Hence, cost of goods sold will be cost of opening balance of 20 units of $200 ($4,000), plus 50 units to $210 ($10,500), plus 60 units of $220 ($13,200). Thus, the cost of goods sold will be $27,700. Operating profit in this case is defined as $3500 (31,200 – 27,700). Accordingly, stocks include 40 units, which will be cost on the basis of the purchase price of $220 per unit with making total worth of $8,800 (Harris, 2011). Last in first out (LIFO) requires that we evaluate the selling stocks based on the sequence, the reverse order of their arrival. Thus, the cost of stock sold is determined by their last price. Our example remains the same, and we sell a total of 130 units at the price of $240 (31,200). The cost of goods sold according to LIFO method is 100 units for $220 ($22,000) and 30 units to $210 ($6,300), hence, it is estimated that the products sold are worth $28,300. According to the LIFO method our profit in this case is estimated as $2,900 (31200 - 28 300). However, the remaining goods are estimated to be worth $8200 (Carpenter & Boyle, 2012). The method of average cost is the most simple and it is one of the most common methods used by companies. Suppose a company has a balance of goods at the beginning of the period, which is 20 units, valued at $200 per unit ($4,000). During the period, it purchased two consignments of 50 units and 100 units at $210 per unit and $220 per unit respectively. However, the company sold 130 units at a price of $240 per unit thus the revenue was $31,200. The cost of goods sold is determined

Type of clothing line Essay Example for Free

Type of clothing line Essay PINK TARTAN Kimberley Newport-Mimran is the president and head designer of Pink Tartan, . The New York Pink Tartan showroom opened in 2004, and the line is now carried at Saks Fifth Avenue, Neiman Marcus, Bloomingdale’s, Holt Renfrew and The Bay as well as specialty stores across North America, Dubai and Seoul. Newport-Mimran studied fashion merchandising and manufacturing management eventually moving into a career in the buying office at the Hudson Bay Company, North America’s oldest retailer. Her style philosophy was clear: â€Å"simplicity is the secret to elegance. † Newport-Mimran went on to product development and merchandising and specialized in denim and menswear at Club Monaco, where she learned the importance of structure and tailoring. â€Å"Execution is key† became her lifelong mantra. Newport-Mimran later moved to Caban where she further exemplified that sourcing is an art: finding fabric and manufacturing makes the difference in luxury design. There she met and married the CEO, Joe Mimran. Today the pair is viewed as Canadian fashion royalty; Mimran launched the Joe Fresh mass fashion phenomenon after the selling of Club Monaco to Ralph Lauren. Womenswear NARCES (The designer is Nikki irthensohn.) Nikki is a Canadian of Persian heritage who was born in Austria, and grew up in Iran and the UK. She holds a Masters degree in Business from Canada/The Netherlands. Her design education comes from growing up in the industry by learning from her mother an accomplished tailor who worked for Victor Edelstein who designed for the British Royal Family, including some of the most iconic gowns of Princess Diana. With NARCES, Nikki combines her very successful business career with a talent and love for fashion design. Womenswear specializes in after-five and evening wear THRESHOLD FT: RANK BY RANI Emerging designer Rani Kim is re-conceptualizing men’s fashion and modernizing the new era of menswear through her brand, RANK BY RANI. Beginning her fashion education at Ryerson University, Kim was trained to appropriate utilitarian design by redefining the structures of masculine menswear. Referencing her Danish design education from her exchange to Teko Design School in Denmark, Kim began developing designs for the modern international man. Her latest collection shown at Toronto Men’s Fashion Week is a strong example of her attention to detail and minimalist execution, which are strong elements of her brand. menswear KLAXON HOWL Since opening Klaxon Howl in 2005 owner and designer Matt Robinson has drawn inspiration from the archives of his legendary collection of the early to mid 20th century. These important, relevant pieces, books and films are studied and echoed in each design The entire Klaxon Howl collection is produced by hand, locally and in small batches using construction techniques rarely seen in modern North American manufacturing. Matt works with quality fabrics that lend them selves to each design. Most are woven on looms in Japan and cut and sewn with pride right here in Toronto. vintage militaria, workwear and sportswear BEAUFILLE Beaufille is founded by sisters Chloe and Parris Gordon. Beaufille is a contemporary line that references historical design elements within a modern context to create a sophisticated tough girl aesthetic. Beaufille represents the girl who has an eye for sophisticated construction, and who appreciates the juxtaposition between old and new. The Gordon sisters attended the Nova Scotia College Of Art And Design in Halifax, and through their exposure to all forms of art, including painting, drawing, filmography, design, photography, textiles, jewelry and fashion, joined up to create a brand that draws on their collective experiences. womenswear

Impact of imaginative play on young children

Impact of imaginative play on young children Play is a fundamental aspect of early childhood. Through play, young children can begin to explore and understand the world around them from an early age, whilst simultaneously gaining a sense of enjoyment from what they are saying and doing. Piaget (1962), cited in Ariel (2002), identified four general developmental stages of play; these increase in complexity as the child matures. These stages are, in chronological order: functional play, constructive play, imaginative play and games with rules. Therefore, it can be argued that imaginative play, as part of a sequence, builds on the skills learnt and nurtured through constructive play, and prepares children for play situations involving rules and other constraints. Bodrova (2008), however, disagrees with this notion by arguing that rules must be an integral part of imaginative play. These rules are not determined by the children themselves, but by the constraints of the imaginary roles that they are playing. It is therefore possible that, in many cases, imaginative play overlaps into other types of play and incorporates more advanced and regulated thought processes than may be superficially apparent when observing what happens during imaginative play. What happens during imaginative play? Vygotsky (1986), cited in Bodrova (2008), emphasises that three elements need to be present for a play situation to be defined as imaginative: an imaginary situation, the playing of roles and the formulation of rules intrinsic to each assigned role. Singer (1994) echoes this sentiment by stressing the point that one or more children playing roles does not, in itself, constitute imaginative play: this is a misconception held by many people, including early years educators. The use of the word imaginary is, however, misleading to a certain extent. According to observations by Dockett (1998), the majority of make-believe situations do not take place in fantasy worlds with fairies and monsters; rather, they are situations drawn from the childs own memories and experiences. These can be, but are not restricted to, examples of what they have seen and heard at home and school. Another view of what constitutes imaginative play is held by Ariel (2002), who regards it as a kind of mental activity rather than a genre of external behaviour. More emphasis is placed on the thought processes required to create an imaginary situation than the words and actions involved during its enactment. These involve a child bringing mental images to life and identifying how they are being represented in real life, but also acknowledging that they are doing it for fun. It is the simultaneous combination of these thought processes that differentiate imaginative play from other types of play such as functional and constructive play. It can therefore be argued that the child must have reached a certain level of cognitive functionality to be able to think in such an ambivalent way about the way they are playing. However, no specific mention of the manipulation of and interaction with objects is made in either of these definitions. Although the use of objects is not a prerequisite of imaginative play, they can play a major part in the visualisation and representation of a fantasy (Tsao, 2002). Such objects could include, but are by no means limited to: toys, movable objects such as chairs and boxes, immovable objects such as tables and beds, and costumes. Smith (1995) discusses the way that, in imaginative play, objects can be transformed into other things to perpetuate the fantasy. However, no recognition is made of the way in which objects, once transformed, can assume different properties, such as size and shape, depending on both the imaginary situation and the type of imaginative play taking place. What types of imaginative play are there? Imaginative play is one of the general developmental stages of play. However, there are substages within this level that are dependent upon the childs mental development. Ariel (2002) identifies three stages: firstly, solitary play, where the child enacts everyday experiences; secondly, parallel play, where the child starts to introduce other characters to their experiences (although the child always plays the central role); and thirdly, sociodramatic play, which is much more structured and less self-centred. Each of these substages is assigned to different years of the childs life, although it must be stressed that these are approximations based on Ariels view of how well developed the average child should be at each stage. Furthermore, these stages appear to be discrete; it is not made clear how one level develops into the next, and what internal or external factors cause this development. In contrast, Dockett (1998) states that there are only two types of imaginative play: simple and complex. According to his observations, there must be six distinct elements present for it to be considered complex play: imitative role-play; make-believe with objects; make-believe with actions and situations; persistence; interaction; and verbal communication. There are no classifications made between these two extremes; from this, it can be concluded that, if one or more elements cannot be observed, then it is simple play. Another important point to consider is that, unlike Ariels stages of imaginative play, no clear timescale is given regarding the age and developmental stage of the child with relation to these two stages of imaginative play. However, the two elements of interaction and verbal communication suggest that more developmentally advanced forms of imaginative play can only take place when a child is involved with other children, rather than playing independently. Imaginative play can take place with or without objects or props (Singer, 1994). Singer argues that non-toy objects, such as chairs and cardboard boxes, are used more frequently in all types of imaginative play than objects defined as toys, such as dolls and model cars. The reason for this is that toys are often limited in the number of functions they can serve in the childs imagination due to their close link with reality. Taking the aforementioned model car as an example, it looks like a real car (but is obviously considerably smaller). It would be difficult to transform it into any other object or creation. Similarly, it is limited in its functionality; it can be pushed or pulled around on different surfaces, but it cannot effectively interact with other objects in general. Conversely, the simple cardboard box provides a range of possibilities for transformation and interaction, as illustrated by an observation by Singer (1994): upon seeing the box, a child calls another to say, I ts the best toy ever! Its a fort and a space shuttle, a bus, a pirate ship, a sled, a clubhouse, and a castle. What is not clarified, however, is the authors opinion on whether or not the use of toys is beneficial, both to imaginative play itself, and to developing young childrens skills and attributes. What skills and attributes can be developed as a result of imaginative play? During the early years of childrens lives, it is important that they develop a range of skills and attributes that will further their development both in and out of school. Broadly speaking, these skills and attributes fall into three categories: social, emotional and cognitive. According to Tsao (2002), childrens participation in imaginative play can facilitate their integration into peer groups through the elements of collaboration and interaction, which are in turn underpinned by verbal and non-verbal communication. This benefit is, however, dependent on the child being at the stage where they choose to play with others rather than independently. Ariel (2002) builds on this concept of collaboration in particular by arguing that children often transfer conflicts to the realm of imagination. This involves resolving personal differences that may arise during imaginative play without breaking character or leaving the confines of the imaginary situation. By doing this, the children are able to continue playing together without the risk of altercation in reality. It can be argued that this type of interaction can initiate the development of rudimentary diplomacy and empathy skills, even at a relatively early age. A different view is held by Bodrova (2008), who believes that such forms of social development, whilst important in their own right, cannot be realised without the prior building blocks of emotional development. She argues that self-esteem and self-confidence are the two emotions that benefit the most through imaginative play, and the best way to start this process is to play independently with objects and toys rather than with others. However, no distinct link is made between the stages of individual and shared play: it is unclear how these emotions, particularly self-confidence, can be developed without some form of initial interaction. Singer (1994), on the other hand, takes the view that the most important aspect of imaginative play is the way in which it brings both pleasure and a large degree of emotional satisfaction to the child or children participating in it. This serves to highlight the issue that, above all, imaginative play should be fun. Through this sense of enjoyment, children will benefit emotionally without being aware of it. It can therefore be argued that the childs need for emotional fulfilment can be a reason for, as well as a consequence of, imaginative play. Opinions are divided regarding the most significant benefit to childrens cognitive development through imaginative play. Smith (1995) and Tsao (2002) emphasise the strong link between imaginative play and creativity. Although it could be argued that this connection is self-evident, due to the intrinsically creative nature of imaginative play, it is nevertheless important to acknowledge its existence. Another important point to note is the fact that children can also develop creativity outside the medium of play by, for example, writing stories and drawing pictures. Imaginative play, while important in its own right, is simply one part of the whole process of developing creativity in children. Conversely, Singer (1994) and Ariel (2002), whilst accepting the potential benefits to childrens creative skills, believe that the development of academically related skills is a more significant consequence of imaginative play. These include, but are by no means limited to, the enhancement of vocabulary by practising new words (Singer, 1994) and the advancement of basic decision-making skills (Ariel, 2002). In imaginative play, children need to identify what objects are (especially if they have been transformed to suit the imaginary situation), what different places and characters are called, and so on. These words will be used repeatedly throughout the play episode; therefore, it is not only good practice for children to say and hear them, but it also facilitates effective verbal communication and keeps the imaginary situation going. In addition, situations frequently arise where children, whilst playing a role, need to make choices regarding, for example, how to react to something someone else has said or done, what object to use, or where to go next. As before, this decision-making process, which is often quick and well improvised, according to observations by Ariel (2002), is another essential way to keep the imaginary situation going. These skills, along with many others, can be beneficial to the childrens holistic development, not only in an imaginative play situation, but also in other areas of their lives. Are these skills and attributes transferable to other areas of the childrens lives? The skills and attributes developed in imaginative play can also be beneficial both to the development of the childs state of mind and their behaviour, particularly with regard to what is required of them as they advance through the education system. Singer (1994) holds the belief that children can sustain themselves in periods of stress with the hope generated from such imagined explorations. This stress could be caused by any of a number of contributory factors, such as an increased academic workload or an unsettled home life. However, imaginative play allows children to detach themselves from reality, albeit on a temporary basis. According to research by Ariel (2002), this time out can have a calming effect on the child, by pacifying them and providing them with ways out of their emotional entanglements. What is unclear, however, is how long this calming effect continues. The question remains of whether the use of imaginative play for this purpose of emotional detachment is a long -term solution to stress-related issues, or merely a short-term fix. Revisiting an earlier theme, Bodrova (2008) states that rules, determined by the roles played by the children, are an integral part of imaginative play. She extends this point by arguing that this following of rules can contribute to a childs readiness for formal schooling, where they will have to abide by sets of class and school rules. During their participation in imaginative play, the child has to promote their intentional behaviours and follow the directions of others so that the imaginary situation can progress. According to research by Blair (2002), cited in Bodrova (2008), the practice of this self-regulation of behaviour by playing by the rules in imaginative play often transfers itself to non-play contexts where predetermined sets of rules exist, such as formal classroom settings. The child will be more inclined to follow these new sets of rules, and their behaviour will improve as a consequence. One other important behavioural aspect, particularly with regard to younger children, is paying attention and the ability to concentrate. Generally speaking, younger children have a much shorter attention span than older children (Dockett, 1998). It is important for children to be attentive and focused when they are faced with formalised situations later on in their schooling, such as assemblies and tests. According to research by Smith (1995), participation in imaginative play focuses childrens minds on the situation in hand, and they become totally immersed in the roles they are playing. One observation by Smith (1995) was of a group of children playing castles. One child was allocated the task of sentry duty: this involved keeping watch from the top of the castle while some other children played soldiers going about their daily business inside the castle. The sentrys role was to warn the soldiers if the enemy (played by three other children) was approaching. The child playing the sentry role considered his task to be highly important, and was able to maintain a high level of concentration throughout, pretending to look in all directions and scanning the imaginary horizon. Smith (1995) argues that these higher concentration and attention levels in imaginative play will permeate into non-play contexts. However, it can be argued that this will not necessarily happen in the case of all children, because acting in an imaginary role is one matter; behaving in real-life situations is another matter entirely. Much depends on the character and personality of the child, and the behaviour expected of the child by the adults in their life. What roles can early years practitioners, parents and other adults take in imaginative play? Imaginative play can happen in any setting, both in childrens school and home lives. According to the evidence gathered so far, the same opinion is shared: it is important for adults to play some sort of role in childrens imaginative play. However, opinion is divided on the issue in two key respects: the level and timing of intervention, and the purpose of intervention. With regard to the level and timing of intervention, Singer (1994) believes that parents and practitioners should initiate imaginative play and then step back and allow the children to play on their own. In effect, the adults give the children an initial idea, and the imaginative play stems from this stimulus. This is not necessary in all cases, however, as many children will formulate their own ideas independently. Conversely, Bodrova (2008) takes the view that all children, regardless of the development of their play skills, require higher levels of adult mediation if they are to benefit from imaginative play in any social, emotional or cognitive way. As a reasonable proportion of imaginary situations are drawn from the childs past personal experiences (Dockett, 1998), one possible way to address this issue is to take an active approach by introducing the children to new experiences (Bodrova, 2008). These can include field trips to suitable locations, and child-friendly books and v ideos that relate to suitable, interesting topics. This will give children a greater knowledge base from which to draw their imaginary situations and characters, thus increasing the variety of their imaginative play. With regard to the purpose of intervention, children can be advised, if necessary, on how to construct imaginary situations and enact imaginary roles. This often takes the form of the modelling of play skills (Ariel, 2002; Tsao, 2002), such as co-operation and the invention of characters. This is particularly important if the child has shown themselves to be less advanced in these areas. This is not necessary in all cases; sometimes, childrens play skills may have developed independently and instinctively. In contrast, Smith (1995) believes that the most important reason for adult involvement in imaginative play is to facilitate the achievement of particular educational and instructional goals. He argues that imaginative play has a better chance of nurturing key life skills if the adults in the childrens lives encourage it and participate in it whenever possible. One active way for adults to participate in this developmental process is to take the child out for walks in order to teac h them about the world around them, highlighting points of interest along the way, and answering any questions the child may have about what they can see, hear and so on. This will assist in the development of key life skills such as confidence and the awareness of ones surroundings. In addition, this helps to expand the childs knowledge base through questions and simple explanations. All of these qualities will be important in the childs home and school life in the future. Further research questions In what kinds of ways can objects in imaginative play contexts assume different properties? At what age or stage of development do children engage in simple and complex play? Is it preferable to use toys and other objects in imaginative play? If so, why? If not, why not? How effective is the participation in imaginative play as a long-term solution to stress-related issues? Do any theorists believe that imaginative play should have minimal or no adult mediation or involvement? If so, who and why?

Pornography Does Not Cause Rape :: Argumentative Persuasive Argument Essays

Pornography Does Not Cause Rape It’s no secret that the United States of America is the number one country in the world for crime and pornography. A lot of speculation is occurring whether or not pornography is the cause of rape. Diana Russell believes whole heartily that pornography is the cause of rape. She claims that pornography shows that women are susceptible and can lead men on by thinking that rape is okay. I would love to know how Mrs. Russell figures that pornography is the primary source for molestation. Obviously, she hasn’t seen much of pornography. Pornography is the material, whether it be pictures, novels, or movies, that shows sexual encounters with people. The porno industry has boosted its numbers close to a billion dollars, and that was in the United States alone. What makes Mrs. Russell’s argument so ludicrous is the fact that she says that ALL pornography leads to rape. How does a woman willing to perform fellatio to a man an act of rape? How does a man performing cunnilingus on a woman an act of rape? Last I checked, rape was an act of violence; I seriously doubt that any man is going to point a gun to a woman’s head and say â€Å"Let me perform cunnilingus on you!† Of course, I would understand if Mrs. Russell would have said violent pornography. Violent pornography usually revolves around men overpowering women, or women overpowering men, or women overpowering women for that matter. Usually violent pornography has a lot of whips and chains, and a lot of nipple tortures and other clamps that are attached to any other orifices. But can we really say that even violent pornography causes rape? Ted Bundy would say yes, but I say no. Want proof? Alright, let’s look at Japan. Japanese pornography is 80% violent, even their animation films have some sort of alien with ten thousand tentacles all forcing themselves inside a scared and terrified woman. But here is the kicker, Japan only has twenty-two hundred (2200) rapes in a single year. Want to know how many are in the United States? Ninety-thousand (90,000) in one year.

AT&T Business Analysis Essay -- Business Management Essays

AT&T Business Analysis Executive Summary The world is experiencing a communications revolution. The Internet, e-Commerce and other developments (including the convergence of communication technologies) are profoundly reshaping economic and social life. AT&T must position itself to meet the challenge of this revolution. The strategic development of information-based industries is a key to the future social and economic development of the world. The telecommunications industry is of vital importance to the development of the information-based economy. AT&T need to supply access to cost efficient, timely and innovative telecommunications services. AT&T had developed a reputation for providing high-quality long distance telephone services. It moved rapidly to exploit this reputation in the newly competitive long distance market by aggressively marketing its services against MCI, Sprint, and other carriers. Also, AT&T had traditional strengths in research and development with its Bell Labs subsidiary. To exploit these strengths in its new global competitive context, AT&T shifted Bell Labs' mission from basic research to applied research, and then leveraged those skills by forming numerous joint ventures, acquiring NCR, and other actions. Through this process, AT&T has been able to use some of its historically important capabilities to try to position itself as a major actor in the global telecommunications and computing industry. Effective competition is widely seen as a key to the development of telecommunications services. The ability of new telecommunications networks to interconnect fairly and efficiently with existing networks is critical to the development of competition. AT&T has undergone numerous changes since its inception in the late 19th century. The McKinsey 7 S framework as applied by Pascale is recommended to manage the changes they are facing to adopt a greater competitive presence in the global economy. In conjunction with this framework, numerous other models were applied to analyse the global competitive position of AT&T. Recommendations for a revised strategy and direction for AT&T have been made throughout this document including two scenarios of how the telecommunications industry might develop towards 2000, while outlining the impact on AT&T. 1.1  Ã‚  Ã‚  Ã‚  Ã‚  Introduction AT&T Corp., incorporated in 1885, is engaged in providin... ...ide whether it should be getting better at what it is already good at or whether it should be looking toward higher order capabilities that are beyond the old. The strategic vision of AT&T must be adjusted to reflect their intent of being ‘boundaryless’ and to become the leader in the infocom industry. It must become the companies culture. Appendix 13 – Mapping AT&T’s Strategy The soft factors can make or break a successful change process, since new structures and strategies are difficult to build upon inappropriate cultures and values. These problems often come up in the dissatisfying results of spectacular mega-mergers. The lack of success and synergies in such mergers is often based in a clash of completely different cultures, values, and styles, which make it difficult to establish effective common systems and structuresBased on the case study, extensive research and annual reports of AT&T the writer has mapped AT&T in the different domains. AT&T should strive to attain a perfect circle as close to the centre as possible, which indicates total synergy, order and equilibrium. Where the circle is skewed drastic change is needed as it moves closer to the outer ring of chaos:

49ers :: essays research papers

There are great times noted in the past. One of those great teams in the San Francisco 49ers. They have made history and are known as one of the type franchises in the history of the NFL. The 49ers are considered a dynasty to the media and fans. The 49ers are respected greatly for their Super Bowl achievements.   Ã‚  Ã‚  Ã‚  Ã‚  It all started in 1946 when the San Francisco 49ers first began their franchise. In 1950 is when the moved to the National Football League. They earned their name from the gold miners who surged in San Francisco, in 1849, in search for gold so they could start a new life. Their first owner, Anthony J. Morabito, who was from the University of Santa Clara alumnus, had a dream of bringing a football team to the west. He had been moderately successful in the lumber hauling business. To make this happen, Anthony was put in touch with Arch Ward, an editor of the Chicago Tribune. Mr. Ward is credited with the All-American Conference, which was first held in October 1944. Anthony, after a long talk and negotiating with Mr. Ward, was granted a franchise with help from his younger brother, Victor, and partners in his lumbering business, Allen E. Sorrell, and E. J. Turre (â€Å"Niner’s history† www.49ersparadise.com).   Ã‚  Ã‚  Ã‚  Ã‚  In Morabito’s first year he signed many famous and talented people such as Frankie Albert, Joe Vetrano, and Alyn Beals. With Lawerecneh T. (Buck) Shaw as the head coach, the 49ers slowly but surely won continuously, as they tried to get a spot in the National Football League. In their first four years in the ACC, the 49ers finished second behind the talent- packed Cleveland Browns. Finally, in 1950, fans celebrated for the entry of the 49ers into the NFL. They joined great teams such as the Cleveland Browns and the Baltimore Colts (â€Å"Niner’s history† www.49ersparadise.com). As soon as they got in, it seemed, they were making changes to make them a top contender in the league. Joined by Y.A. Tittle, and shared quarterback Frankie Albert, the 49ers missed the Conference Finals by half game. From then on they were in the race for the prize except in the years 1955, 1956, and 1958. Just as everything looked like it would turn out great, a tragic event happened that scared players and fans for life. During a game on October 27, 1957, Tony Morabito died of a heart attack.

Installation Art and Architecture Essay

Architecture has produced works that was revered, respected and something that captured the awe of the people for years. It was the source of something beautiful and even artistic. It was because of architecture that the likes of the Parthenon, as well as the other majestic palaces and cathedrals and other structures – things that people have considered as artistic and beautiful – was created and later enthroned in the annals of what is beautiful and what is artistic. Architecture has endured for years, but the growth of the practice of architecture also made it possible for the creation of other disciplines from which what is beautiful and artistic would be derived from. One of the things that were always placed side by side with architecture today, when it comes to the consideration of art and beauty inside space and location, is installation art. Over the years, installation art has become widespread and gained popularity. But the spread of installation art has one serious repercussion – its act of intrusion in the realm of architecture, an act of intrusion that is not harmoniously creative but is sometimes destructive too. There maybe instances wherein the collaboration and fusion of architecture and installation art can produce something that exudes harmonized beauty and reflect certain artistic values and content. What captures the attention of professionals is how installation art appears to be more inclined in attacking the space and the features of architecture, either as part of its overall artistic outlook or just because this is a necessary characteristic for installation art to fully manifest itself. This has been an important point of argument since installation art has emerged. There are those who believe that the two disciplines exist in harmony together while there are those who believe otherwise. Because of this, the paper will try to discuss and analyse what the relationship is between installation art and architecture, how art invades architectural space, when and how art and architecture intersect and what will be the result of the collaboration of art and architecture. The Evolution of Installation Art Installation art, as the name implies, is all about a work of art that was installed in a particular place. It maybe a simple object or a collection of objects, that occupies very little space. It can be something – a sight or visual cue that can make the audience feel as if they were transformed in another place because of the broadness of the reach, physically, of the installation art that a whole new environment was created because of installation art. There are many different components that may make up a work of art considered as installation art (since anything that can be installed in a place can be a part of installation art). From video presentations to exhibited photographs, sculpture and other artworks, these all contribute to make installation art what it is and to help installation art achieve its goal, and that is to transform a particular place in such a way that what was achieved was the experience and sensory cues that the artist(s) wanted or anticipated in the creation of installation art. Installation art, like any other art styles, genres and movements have beginnings in different countries and many places around the world proved amenable to the growth, patronage and continued development of installation art (Childs, Storry, 1999, p. 273). Considered as a genre or art movement that is still under the contemporary art era, installation art was felt as early as the seventies. A very good example of some of the earliest installation art include the latrine turned fountain by Marcel Duchamp entitled â€Å"Fountain†, a work of art that was controversial and sensational largely because of what it presented and the social taboos and conventions that it challenged during its release. Joining Duchamp as some of the earliest proponents of installation art includes Kurt Schwitters, as well as the Gutai group, an art group that was situated outside of the US and in Japan, and the American Allan Kaprow. These individuals are just some of the prominent individuals in installation art – browsing intensively through the history of installation art. Research would reveal several other individuals who participated in the establishment and growth of installation art around the world (Childs, Storry, 1999, p. 273). Kaprow was considered as one of the artists who helped guide the idea of installation art towards what it is today. He has postulated many different ideas that concretized the concept of installation art since its early years. Kaprow’s idea about environmental art contributed towards the development of installation art as how it is known today. By the start of the last two decades of the 20th century, installation art was already known in many parts of the world, including European countries (Childs, Storry, 1999, p. 273). â€Å"The term installation art has been in common use since at least the mid-1980s and ‘installations’ have become familiar sights in British museums and galleries in the 1990s (Childs, Storry, p273). † Besides Kaprow, there is also the famous installation art pioneer, Ilya Kabakov, who was also instrumental in developing installation art. Together with Kaprow, Kabarov helped in bringing installation art closer to the people, as well as to the artists by using the academe and including installation art in what they teach in school so that students will understand installation art better and maybe even contribute to installation art in the future (Al-Qawasmi, De Velasco, 2006, p. 117). â€Å"Two of the key coiners of installation art are Allan Kaprow and Ilya Kabakov. Both artists not only made art installation but they also introduced the practice into academia (Al-Qawasmi, De Velasco, 2006, p. 117). † Kabakov and Kaprow and their role in the introduction of installation art in the consciousness of art students learning in the academe is instrumental in the growth of installation art, which , in one way brought installation art and architecture closer together. The idea behind the creation of the discipline that would be known as installation art lies on the belief of the artists that there are other ways that can be explored. The viewing experience of the people who are trying to appreciate art is something that the audience can experience, detect and maximize (Kronenburg, 2003, p. 229). The physical attributes of the place contributes in making the artistic exhibition what it was, therefore, bringing the artworks and the experience closer to the people and helping them identify with their selves better while being immersed in the art they are witnessing in installation art exhibits. â€Å"Installation art attempts to reduce the boundaries between the viewer and the viewed and bring the artists’ ideas to a situation where they can be communicated more directly (Kronenburg, 2003, p. 229). † From lifting from available materials, installation art experienced an important change when television and video recording was introduced. It allowed the artists more diversity in their works and allowed more ways and means for the artwork to be presented to the public. Because of this new technology, installation art was able to add a new dimension to itself. Today, video has been an integral part of installation art anywhere in the world. Artists, like Martin Firrell and Jenny Holzer, are some of the installation art specialists who are known to use the technologies, videos and digital presentation. Over time, the support for installation art, its ideas and the discipline, grew. Many entities like the Museum of Installation located in London, as well as the Mattress Factory in the United States, sounded their support for the growth of installation art as a separate and independent movement in the world of art. This is concretized by the growth of the artists immersed in this style. There are many installation art works to come out of England. One example is the work entitled Neon Rice Fields exhibited in 1993 by an artist from Vietnam who was already based in Great Britain named Vong Phaophanit (Childs, Storry, 1999, p. 273). This also signifies the relevance of the countries, too, that supported installation art. For example, the British prides itself with several artists, some of them are not even born in that country. However, because of the artistic atmosphere in the country, even foreign born artists are now based there because of how the country creates a local artistic community that is amenable for the art and the artists. Part of the development and evolution of installation art is the introduction of this particular art form in the academe. By being introduced to the academic world and being studied and used by professionals, it was a way of awarding installation art a sense of legitimacy in the art world, like giving it its rightful place in the world of art. And an important point in the discussion of the intersection of installation art and architecture can be seen in the discussion of installation art in the academe, although historians are not quite sure when this began (Al-Qawasmi, De Velasco, 2006, p. 117). â€Å"It is difficult to trace the exact history and point of departure for using installations in architectural education (Al-Qawasmi, De Velasco, 2006, p. 117). â€Å" Some observers believed that when installation art was introduced in the academe, it was placed inside the educational system for learning architecture, placing installation art as a part and not something greater than architecture. Notably, installation art was greatly embraced in the realm of architecture, even in the academic realm. â€Å"Installation practice in architecture schools is growing both in undergraduate and diploma studies as well as postgraduate research (Al-Qawasmi, De Velasco, 2006, p, 117). † Role of Installation Art Installation art is here because of a particular reason; one of the reasons is the role which artists believe installation art has. Often, it is the role of message-sending, addressing issues that can be as broad as socio-political issues or even personal issues; the focus is on the individual and the realization of the individual/audience after being exposed to the installation art (Al-Qawasmi, De Velasco, 2006, p. 117). â€Å"Some practice installation as urban interventions to question cultural or socio-political issues (Al-Qawasmi, De Velasco, 2006, p. 117). † Here is an example. If you would one day happen to see a sculpture of an image of a polar bear sitting under a very small pack of ice placed on the sidewalk, placed there by the artist, it may mean that the artist is trying to send a socio-cultural message that is environmental in nature (i. e. tackling the issue of global warming and how the work of art represents the effects and changes that will happen to the planet if global warming remains unchecked and unresolved, and that would include the loss of natural habitats of animals in the polar regions and the displacement of animals inside locales they are not known to thrive in the first place). Another good example is the work of British artist Michael Landy. Landy became more popular after his Breakdown installation art which he held at the C&A building located in London. He protested about consumerism through his art – composed of installation and performance art that saw Landy bringing in his possessions on sight and burning it in front of the audience (Walford, 2001). Installation Art: Rise and Recognition The emergence of installation art as a specific discipline in the world of art has gained notable rise and earned the recognition of the authorities in the field of art. Today, there are many reputable organizations, as well as award giving bodies, that acknowledge installation art and their significance. For example, â€Å"the Turner Prize shortlists have increasingly included such work (installation art) by British or British-based artists including Vong Phaophanit, Douglas Gordon and Rachel Whiteread (Childs, Storry, 1999, p. 273). † These award giving bodies and the recognition that they give to installation art and the artists of installation art, helped cement the place of installation art. It also helped the artists in the local and international community, contributing to the growth of installation art. This is important in the rise and recognition of installation art. How Installation Art Invades Architectural Space Architecture thrived because there were available spaces that were transformed through the use of construction and the implementation of design and creation policies and concepts exclusive to architecture. Because of that, architecture cannot be considered as creating physical outputs that are intrusive towards existing objects that occupied space to where they would encroach. Architecture did not encroach because the buildings were made atop a land previously featureless. If there were any buildings before architectural efforts were made, it was considered as an act of improvement for the previously placed structure, which is made by architecture. Regardless of how old the type of architecture would be, still, it is architecture. The case is different with installation art because installation art places itself inside the design of architecture – designs which did not accommodate such features, and sometimes, will not accommodate such features. And when this happens, installation art invades architectural space. For example, public parks where installation arts are in place can be considered as an act of destroying the concept of what is beautiful. This is because an alien thing was added to the park, a feature that was not planned to be there in the first place, ergo giving the people the chance to redefine what a beautiful park is– was it the one with the installation art or the one without it? Even if installation artists argue that installation art has aesthetic value, design is not a simple mathematics of putting one beautiful thing inside another beautiful thing and the automatic result is a beautiful and artistic thing. Sometimes, the combination of two separate, beautiful and artistic things may not be a harmonious endeavour. The characteristic of one of the two will be affected by how the other will minimize, alter or damage the original state of the half of the two, making the union sometimes just beneficial to one and disastrous to the other. Installation Art, Architecture and Purpose An important aspect in the analysis of architecture and installation art and the times the two are intersecting each other and invading each other’s space is hinged on purpose – the purpose of the artist and the purpose of the person who allowed the creation of the installation art or architecture (or both), which is usually the artist’s financier or benefactor. What is the purpose of the installation art and what is the purpose of architecture? This will take a long discussion starting with the origins of the two. Architecture was primarily created so that the creation of a functional structure (both permanent and temporary) can also feature aesthetics at the same time. However, the creation places more importance to functionality and usability than beauty and aesthetics. Installation art, on the other hand, is hinged strongly on artistic background. The focus of installation art is art itself and not functionality. Therefore, when the two collide in a single space, there is a fight between which should prevail in the space – is it architecture and its functionality or installation art and it’s more artistic and aesthetic purpose? For those who give installation art a space, their main reason is its humanistic impact on the viewer – art appreciation, and even detoxification from stress through the beauty in art. An ideal example is Spaceplace created by Maurice Agis and Peter Jones, which was created for its non-functional purpose and yet the artists believe that there is an important role of the installation art nonetheless. This is found in how the artwork impacts the audience, particularly in the personal level depending on how the artwork affects the audience/viewer (Kronenburg, 2003, p. 229). They are the first to admit that Spaceplace is more aesthetic than traditional functional; critics and observers believed that such was the case (Kronenburg, 2003, p. 229). â€Å"The aim of Spaceplace was to create a new environment based on aesthetically controlled considerations rather than conventional functional issues (Kronenburg, 2003, p. 229). † This is a clear differentiation of installation art and architecture. Spaceplace was purely installation art. The sole functionality of this is to affect the audience/people and not to be something that should be used in a manner that architectural works are utilized for their functionality. It may not be functional based on what â€Å"functional† is often understood (i. e. something that has practical use or something that is useful) but its effect on the audience/people is nonetheless important. Spaceplace is â€Å"an installation that explored the relationship between simple rectangular forms in order to create abstract non-functional spaces that were†¦ related to the human body. The work was an attempt by the artists to provide a foil to the chaotic spaces of everyday human activity (Kronenburg, 2003, p. 229). † The artists added that the other purpose of this particular installation art is to have the audience’s sensory activity stimulated in a positive way (Kronenburg, 2003, p. 229). Often, architecture and installation art does not cross each other’s path. The invasion of the space allotted for the two are often separate, especially when there are spaces that are allotted for art works and there are spaces allotted for strictly architectural endeavors and works. For one, practical and functional creations are often delegated to architectural works; while installation art is often given space only inside art galleries which allots space for art forms like installation art and not to architecture. Take for example, Maurice Agis’s Spaceplace – it is an installation art that required the use of a large space. The art gallery gave them this space, therefore, making it unnecessary for the installation art to invade architectural spaces because they have their own space wherein they can showcase themselves. â€Å"The installation therefore relied totally on the provision of a separate shelter environment in the form of gallery space (Kronenburg, 2003, p. 229). † But this situation was actually met with negativity especially by the artists because the artists like Agis himself believes that confining the installation art in gallery spaces actually pushes the artworks farther from the public and the public experience, which was the main goal of the installation art in the first place.