An individual report which debates a contemporary issue in E-Business Case Study

An individual report which debates a contemporary issue in E-Business - Case Study Example Moreover, the case studies that will be utilized will be that of the 2013 annual reports from Yahoo, Google, and Microsoft. By analyzing these recent annual reports, it is the hope of this particular student that the reader will be able to gain a level of inference concerning how security issues and legal issues are represented within these and serve to define the approach to the market that these companies are taking. Rather than these two particular issues serving as considerations for the way in which business is conducted within three of the largest tech companies within the United States, is the understanding of this particular analyst that these see concerns are so intrinsically important that they are not only represented as focus point for business development but serve as a fundamental definition for how these companies engage with the market and develop their current and existing, as well as future, strategies for continuing to remain profitable. As one of the most profitable and successful pioneers of the computer operating system, Microsoft has long placed a high emphasis on the importance of security and dedicated entire teams and departments towards ensuring that this particular goal is accomplished (Dvorak, 2012). However, as with many companies, the failures of Microsoft to ensure a completely and entirely secure experience for its users, and the lapses in overall security that have come to be tabloid sensations over the past several decades, has created a difficult situation for Microsoft as it seeks to transition towards a new dynamic for engaging profitability. As the annual report of 2013 for the Microsoft Corporation indicates, the company is deliberately shifting towards a more service oriented approach to the market (Foley, 2012). This does not indicate that Microsoft windows or other long time/profitable engagements will cease to exist; however, the means by which the user engages

Examine and evaluate the extent to which women in the twenty-first Essay

Examine and evaluate the extent to which women in the twenty-first century can be considered to be a reserve army of labour - Essay Example By the beginning of the 21st century, the prevalence of married women in the labor force had marginalized the traditional Marxist construct. Modern theories have illustrated that the modern notion of gender and its impact on the labor market has changed to reflect contemporary reality (Beechey, 1988). In her 1978 paper, â€Å"Women as a Reserve Army of Labour,† Irene Bruegel accords with certain precepts of a gender-based reserve labor army, such as the rigidity of the sexual division of labor. Bruegel concurs with the idea that â€Å"the segregation of women into women’s work is of such ideological importance that it cannot be breached, even where it would yield capital cheaper labour† (Bruegel, 3). Women have also been more vulnerable to the swings of economic Name 2 fortune, yet in Britain during the 1970s the number of women entering the work place increased by nearly 150,000 jobs, while the number of employed men fell by more than 300,000 (Bruegel, 5). This, Bruegel argues, was symptomatic of a long-term trend during which women infiltrated the labor market. This has helped insulate women against cyclical downturns in the economy, traditionally a stumbling block to female employment, in which â€Å"women’s work† tended to be the less stable, more volatile types of employment work addressed by Barron and Norris’ dual labor market division theory (Barron and Norris, 1976). While improvements in technology have lessened the significance of traditional gender differences, employed women remain vulnerable to job loss, particularly to unemployed men seeking to return to work. Bruegel insists that new strategies are needed to defend the integrity of women at work if true equality and the unemployment problem are to be improved (Bruegel, 9). Ann Oakley points to powerfully entrenched cultural factors to explain the relegation of women to the role of reserve labor. For Oakley, the tradition of women performing â€Å"womenà ¢â‚¬â„¢s work,† work that is perceived as more sensitive and connected to the â€Å"feminine mystique,† arises from persistent socio-cultural mores. â€Å"Male-dominated culture has designated as female all labours of emotional connectedness†¦The principal mode of developing this sensitivity in women is the gender-differentiated nuclear family. Women mother. Daughters are transformed into mothers. An autonomous sense of self†¦does not need to develop† (Oakley, 201). Despite the increase in female employment in the 1970s, Oakley maintains that the woman-as-individual versus woman- as-mother-and-wife dichotomy is as strong as ever, and precludes Name 3 the possibility of true labor equality. Oakley’s feminist view incorporates the lack of gender equity in the home, which also hampers the ability of many women to realize their potential in the labor market. For Oakley, this is another oppressive outgrowth of traditionally culture-based gender inequi ty. â€Å"Men create more housework than they do and, in many households, children do as much housework as men†¦Even in supposed paradises of gender equality, such as Sweden, 87 percent of couples do not share housework† (Oakley, 56). For some theorists, the patriarchal orientation of society has, over time, extended from the home into the political realm and the workplace. Sylvia Walby theorizes that when women won political citizenship

International Monetary Fund Essay Example for Free

International Monetary Fund Essay The question â€Å"To what extent has the International Monetary Fund contributed in revamping the Nigerian economy since the 1980’s?† is a question that helps us to evaluate the true impact of international monetary policy.   In order to further understand the meaning of this question, this paper will examine the following subjects – 1) the meaning of the question, 2) the significance of the question for International Relations scholars, 3) how the question relates to other published work in the area, and 4) what methods would be employed to answer the question. First of all, the question is directly focused on economic impacts.   However, the question is not simply a matter of metrics, because the question is directed at procedural changes as well.   The question is focused on the restructuring of the Nigerian economy.   To only use economic metrics would fail to address the consequences restructuring entails.   When the IMF releases money to a country, they stipulate conditions that the country must meet. Therefore, the question is also directed at the matching the directives of the IMF with the implementation within Nigeria.   The question is not asking if the IMF has had a positive or negative impact on Nigeria, so value judgments can be left aside.   However, there are several hidden economic impacts.   Structural changes to the workforce, changes in occupations, and new roles within the economy are all more difficult to measure, but can be considered a result of economic policy.    Therefore, the question means 1) what are the economic stipulations of the IMF from the 1980’s until now, 2) has the Nigerian government met the requirements of the IMF, 3) what restructuring has occurred within the Nigerian economy as a result of the IMF, 4) what economic measures can be attributed to these changes, and 5) what are the indirect economic impacts of the IMF policies. International relations scholars are interested in this question because the answers yield important data on the impacts of policy.   International relations scholars are often consulted on questions of policy.   It is therefore in their best interest to know the impacts of policies made in the past.   In this regard, they are historians.   First of all, it is critically important for International Relations scholars to understand what the IMF has attempted to revamp within the Nigerian economy by tracing the stipulations as they were made. Additionally, the scholar can look at the Nigerian government’s ability to meet the demands of the IMF.   How well were they able to integrate the changes required by the IMF.   Were there consequences that required new policies in the future?   In tracing these policy changes, the scholar can also piece their own picture together of what the IMF did well (what was effective), and what changes needed to be made in direction in order to achieve effectiveness.   They can also have a unique insight into the culture and politics of Nigeria, as well as the internal culture and politics of the IMF. At this point, the International Relations scholar can also know what economic measures are affected by differing types of policies and requirements.   Additionally, they can make recommendations on what types of correlations can be found between initiative and their impact.   Perhaps some of the most valuable information for International Relations scholars, however, is related to the indirect impact of the IMF’s policies. When looking at the restructuring of the Nigerian economy, the International Relations scholar is able to examine the changes within the population, how people moved around, the changes in families, etc.   This type of information allows for a more comprehensive picture of economic change and the effects policy can have on cultural change.   Also, this may highlight the challenges represented by a more powerful entity interacting with a less powerful entity on a global scale. There has been much written about Nigeria since the 1980’s.   There are environmental reports, malnutrition reports, and economic reports.   However, these all approach Nigeria from a different perspective than the direction of this question.   This question seeks to directly explore the impact of IMF policies and economic aid on the revamping of the Nigerian economy.   As such, this question seeks to provide supporting information of the changes in Nigeria.   It seeks to trace change related to IMF policies alone.    It is impossible to completely know what current conditions in Nigeria are caused solely or even primarily by the IMF policies, however by focusing on the IMF, widespread impacts can be evaluated from IMF policies.   It is taking the infusion of money and change of monetary policy as the starting point and looking for the economic aspects affected.   One of the main sources for research on these types of development programs is found with the World Bank.   A particularly useful document is â€Å"The Evolution of Poverty and Welfare in Nigeria, 1982 – 1992.†[1]Using this document and also information from the IMF, the scholar can tie together the policies of the IMF and the effects. In order to study such a complex issues, a rigorous approach will need to be taken.   It is the most difficult to know the indirect impacts of the IMF’s economic policies.   It is undesirable to claim that changes were a result of IMF policy, if in fact, they owed their existence to a governmental or environmental change.   However, the economy is so closely entwined with all aspects of life, the implications of the IMF policies will be seen to have far-reaching consequences. Therefore, we can begin by examining the Nigerian economy and economic statistics in 1980, and comparing them with the present day to get snapshots of the economic health of Nigeria at these two points in time.   These snapshots, however, encompass other economic influences other than the IMF programs.   Then the specific policies of the IMF and their objectives are compared to the resulting economic changes to see if the stated goals have been achieved via metrics. Also involved in this analysis is the ability of the Nigerian government to implement the changes required by the IMF.  Ã‚   This area of analysis is perhaps the easiest, as the initiatives of the IMF are easily available.   However, information on the implementation and the implementation’s challenges may be more difficult to find.   Looking at a timeline of IMF policies, one can also deduce what was effective or not effective.   If a policy was ineffective, then in a later cycle we should find a correction or an abandonment of the program. The internal structure of the government and economy can also be viewed.   The way that money flows and what directions can be measured.   It is important to see structural change since the 1980’s.   The Nigerian government worked with the IMF to develop the National Economic and Empowerment Development Strategy in 2004.[2]   This document reviews previous policy and also lays the groundwork for future work between the IMF and the Nigerian government. This report focuses on structural changes – highlighting the importance of revamping the Nigerian economy. Additionally, looking at the basic economic unit – the household – can show structural changes ass well.   By looking at these structural changes, the real question about revamping the economy can be answered.   Of course, this type of analysis also looks at the indirect effects of economic change.   These are difficult to measure, but by tracing newspaper stories and major events in Nigeria, it may be possible to trace events back to economic policy decisions. Overall, the question of the effectiveness of the IMF’s policies to restructure the Nigerian economy is a very important question with implications for future policy consideration and also a deeper understanding of the past. Now that the world is becoming smaller and national boundaries are being crossed with money and policy, it is more important than ever to understand the impact of economic policy.   Additionally, with the prevalence of capitalism and modernization, the effects of economic policy on third world nations must have a thorough understanding. Reference List International Monetary Fund, The Nigerian Economic Reform Program, IMF, 2005, retrieved 10 January 2007 http://www.imf.org/external/country/NGA/index.htm    World Bank, The Evolution of Poverty and Welfare in Nigeria, 1985-92, World Bank, 1997, retrieved 10 November, 2007, http://www4.worldbank.org/afr/poverty/databank/DocNav/default.cfm [1] World Bank, The Evolution of Poverty and Welfare in Nigeria, 1985-92, World Bank, 1997, retrieved 10 November, 2007, http://www4.worldbank.org/afr/poverty/databank/DocNav/default.cfm [2] International Monetary Fund, The Nigerian Economic Reform Program, IMF, 2005, retrieved 10 January 2007 http://www.imf.org/external/country/NGA/index.htm

What Is Street Art Cultural Studies Essay

What Is Street Art Cultural Studies Essay Over the last decade, there has been an increasing interest in a transient form of art that is marking urban settings around the world and has developed a thriving culture. Street art is becoming a formless creature embracing art which is found and inspired by the urban environment. Some people consider this kind of art as controversial and offensive, although on the other hand others find it appealing and attractive. By nature, humans are expressive; they have been drawing on walls since the beginning of humanity. Street art is an ancient art form in a more complex society which requires no formal artistic training or schooling and that in itself makes it so globally appealing for any person regardless of their background to express themselves in ultimate freedom. The use of media has evolved but the message has always remained the same which always translates into freedom. Some people consider this very disturbing, while others find it beautiful. Whether it is interpreted as vandal ism or public art, it attracts interest around the world. Street art today and what it has evolved into is part of our pop culture whether people understand it or not. Clothes, shoes, toys, and more are influenced by street art on a daily basis. To some people, this is beautiful as long as is not being seen on their buildings and walls. As soon as they see it on a wall, they consider it as vandalism. This essay explores this long issue by researching the world of street art. Hopefully by the end of this essay a general conclusion will be extracted about how people react, feel and think about this way of expression but also what the society and the authorities could possibly do about it. The research for this project included an online survey that was answered by ninety six persons of different ages and nationalities. Chapter 1 What is street art and who are the artists that represented it? Street art is any type of art created outside in public view and is usually connected with social and political meaning. There are many different types of street art such as graffiti, sticker art, stencil, wheat pasting-street poster art, falsification of a street sign or an advertisement. Toward the end of the 1960s and in the beginning of the 1970s, children started writing their nicknames on walls, mailboxes and even in tubes and this came to be known as tagging. As hip hop culture spread from America, street art became a worldwide phenomenon growing in the 1980s as the symbolic language of the young population. It was then that street art became legally restricted and a conflict started between artists and the authorities. Even though this divergence arose, street art was widely spreading around the world during this decade and artists were adding more colours, different styles, creating or drawing comic heroes and imaginary faces. In addition, it attracted the attention of media, thus movies and magazines about street art begun to publish. Although street art is being used by many people, not all of them do it for the same reasons. There are artists that use street art as a mean to express themselves while others use it to communicate or raise awareness for social and political issues. Simply put, people see the empty spaces of the city as a blank canvas and want to be creative with the use of humour while others are more willing to take the risk of creating some sort of an illegal art. In some cases street art is being used as a mean of a memorial to a fellow man or a great artist that passed away. Through their work, artists aim to communicate with everyday people without the intent to offend or create a conflict but rather to create a connection with the general public through their artwork. There are many ways in which the types of street art can be graded, while some are considered as simple drawings on a wall, others are classified as actual works of art, depending on whether the artist was given permission to create it. The techniques used remain the same but having permission to express it changes the whole meaning since without any permission it is simply considered as vandalism. Vandalism is described as an inexcusable destruction of property, showing to have negative effects on its setting. Criminologists have also observed that vandalism has a snowball effect on causing negative effects in its surrounding environment. Dr. George Kelling and Dr. James Q. Wilson have studied the effects of a broken window case, a disorder in an urban setting and concluded that even one instance of neglect can lead to the possibility of more incidences like that one to appear. Furthermore, an increase in actual violent crimes led researchers to the conclusion of a direct link between street violence, vandalism and the decline of the society (Broken window theory) (Art Radar Asia, 2010). Whichever way is referred as, vandalism or art, this way of expression has been a worldwide phenomenon as well as the artists that represent it. There are hundreds of street artists whose work and projects made this type of art one of the most debated issue in the world of art. With their own unique way, they have managed to spread this phenomenon all over the world and put themselves on the map just by doing what they like. Using their skills and imagination they have found a way to express themselves and offer some people the chance to embrace something really beautiful and not to see it as something that others consider vandalism. Nevertheless, these refined artists have attracted the interest of the world. Keith Haring was one of the first street artists and consequently, responsible for the spread of this kind of art. Haring was studying to be a commercial graphic artist but after two semesters in the Ivy School of Professional Art in Pittsburgh he realized that he only had little to no interest in that, so he dropped out. He kept working and studying on his own, but choosing to move to New York and enrol in the School of Visual Arts, came as an inspiration to work on an alternative outside landscape of creativity. He was first inspired by an empty black panel that was used for advertising. Haring thought that it was a perfect place to draw on so he went after to buy a box of white chalk from a card shop and he started to do so. The white chalk was perfect on the black paper and thats why following that, he kept drawing on all of the black spaces that came to his attention. People seemed to show respect for what they saw and surprisingly did not try to mess it up. The subway pictures evolved into a new medium of communication as the images created travelled the world through magazines and television. He was immediately actively involved in the city of New York and the hip hop scene including rap music, break dancing and graffiti. This kept on going for the following five years showing that it was reaching all kinds of viewers from various social and ethical backgrounds (David Sheff, 1989). Banksy is another well-known street artist whose work is responsible for the popularity of street art as it is now. Despite the fact that he is from Easton, his artistic home is the streets of London. He began his career as a graffiti writer and later on he progressed to the use of stencils because it was quicker to apply and on effect it created a harder impact, which has always been essential for his work. In his mind he cannot accept the fact that this kind of art could work indoors as he likens it with the domestication of an animal- turning a wild creature into a sterile and languid pet. He believes that this is an outdoor art and should remain as it is even though some people get a lot of comfort from being indoors. It is very different to paint in the street having to capture a burst of adrenaline enhanced by the thought of being arrested rather than to do it in a cosy studio while drinking coffee (Ossian Ward, 2010). It seems like for some people the search for inspiration goes beyond their limits. Maybe the people who steal graffiti off walls are on to something the edge is still there. But those people are funny they ask me for a letter of authentication saying I painted a certain piece, but thats basically a signed confession on headed notepaper. (Ossian Ward, 2010) C215 is a French artist who started drawing as a teenager in the city of Orleans in France and now he paints portraits worldwide. He has a special technique in which he makes the stencils by hand without the use of computer. His work can be seen around the world in many cities such as Rome, Barcelona, London, and Berlin. C215 uses stencil because as he says the stencil allows him to combine his two passions, drawing and graffiti. He mostly paints people who experience the life of being in the street such as refugees, tramps and street kids. The great philosopher Heraclitus said: No man ever steps in the same river twice. Similarly C215 believes that no one can compare every life event and every period to anything else because they are unique (Vincent Morgan, 2009). Jerome G Demuth is a street artist from Paris. G is the nickname he uses for his activities in the streets. He was a photographer and now he found a way to show his work in the streets using large scale technical print like a photo placed on a billboard. Pasting a photo on a billboard was actually the first thing he did nine years ago. He tries to illustrate the way he sees life and society. Through his work he wants to raise peoples awareness about respect and love for earth and other humans instead of caring only about money and success. In general, he tries to show them that they could have an alternative way of life. One of his most well-known projects is the installation of swings in many cities and calls them Swing Cities. Another street artist is Ink 187 or also known as Oiler, coming from Los Angeles, California. The nickname Oiler as he says is due to the fact that he is too slick. He is a tattoo lover and thats why he is called Ink. 187 is in a memorial for a friend of him. Oiler is a graffiti artist and through his work, expresses his feelings and emotions. After being expelled from the state of California due to graffiti presence, Oiler became a mentor for young artists in North Portland and tries to help them practise their art legally. Putting his past behind him, he hopes for a better life and future. He tries to keep his graffiti on t-shirts and paper hoping to start a career in fashion. He has on his mind that if artists use their talents legally, street art could become profitable. It does not matter where they are from and what techniques they use. Street artist just want to share their thoughts and believes. Others do it for their social concern and others for their own personal satisfaction. Nevertheless, they do not want to offend anyone with their work, rather than to raise their attention towards its prosperity. No matter what happens there will always be a conflict between people concerning street art. Most importantly, there will always be people against this type of art. Chapter 2 How do people and society perceive street art? Todays youth uses street art to portray their social and political views. In order to make their mark, artists choose high traffic areas to express themselves in order to spread their messages broadly. The reason is that by displaying a unique artistic creation people cannot miss it as they walk by, thus it serves their cause efficiently. They could easily use a social network to express an idea but unquestionably that is not as effective as street art. Over the recent years, it came to be as a form of communication. Since young people are not as interested in the news, the modern urban feel of street art combined with its awareness of political and social changes makes it perfect for almost everyone. Some people even though they enjoy street art, they do not agree with it when it expresses political views. They prefer to see something entertaining and humorous instead of a message containing political views. In some neighbourhoods, sometimes gangs use street art in order to mark their territory or their crews power and status. They mark their territorial boundaries as a warning to other gangs as well as to the police. Sometimes a gangs graffiti sign or symbol may also be a memorial to a fellow fallen gang member. Because of the connection between gangs and street art, it has stereotyped the art and influenced society to relate it particularly with street violence and crime. However, the last couple of years, people have been accepting this type of art and the majority enjoys seeing it. They believe that living in a neighbourhood where street art is being displayed shows the uniqueness of every place, its identity. Grey bowing buildings are transformed into something alive and admirable. Even when a person sees street art outside his window, it has an effect on his mood. It can create a warmer atmosphere which at the same time can create a feeling of being somewhere different, a better, m ore desirable place. On the other hand, some people say that they do not like it in their neighbourhood. According to their views, it states a sense of anarchy, violence and moreover destroys the appearance of buildings, parks and streets. This of course depends on what the artist creates. (see appendix 4) It makes sense when the members of the community get angry when vandals deface their properties, homes and public spaces making it clear that an effective approach to manage street art should incorporate the removal of unwanted or even offensive wall paintings. Nevertheless, the zero tolerance policy is self-contradictory. Many young artists experience frustration and disappointment towards the criminalisation of their art and as a result they rebel against the local authorities, perpetuating more illegal creations (Moo, E. Wardle, F. Lyons, S. Heim, J. Wodds Alum, E. 2009). Paintings expressed on walls are not equivalent to the paintings hung on the walls and this is apparent by how street art is perceived by the general population. The act of taking the street art from the outside of a building and placing it inside of a building completely changes the work from anarchy to artistry and consequently vandalism gains value. There is a substantial increase in people who believe that street art should be displayed in indoor places. Some though may argue that by doing this, the meaning of this particular art changes completely. Nowadays the number of people visiting galleries is decreasing and even less of them have the funds to organise a gallery exhibition. This is one of the reasons why these artists have turned public walls into their canvases in order to express themselves and even evolve their skills, which could not be done on an average piece of canvas. It could be seen as a privilege to the society that so many people are given the opportunity to vi ew such works of art free of charge. Some people find it as a nice vibrant change after seeing hundreds of generic bland advertisements on a daily basis. As soon as street art crossed over from criminal to commercial, it stopped being an expression and became an industry of its own. The street art has started receiving international approval in the latest years with artists, such as the mysterious Bansky, selling their creations at Sothebys for huge amounts of money. Nowadays, prestigious galleries exhibit street art and collectives have been formed in many cities all over the world. Several books have published the colourful displays of public art which has reached critical mass around the world, even though it is still considered illegal as a form of expression and a street crime (Lonely Planet, 2010). There is a correlation between the artistic approach of the artists and the cities concerns as it helps the culture programming for attracting the tourists, aids in the institutional communication of social action in poor neighbourhoods and informs about the local economy. Huge events attracting impressive crowds are developing street art and contribute to the European Capitals of Culture success. More than 100 000 people from Porto, Graz, Brussels and Copenhagen are drawn to these events as Lille has recorder approximately 600 000. They are mostly happening in the city centres while other areas and rural zones also have a social and spatial integration call on street art. These artists usually work in abandoned districts or problematic places such as former factories, participating in linking territories and developing their projects in areas with little access to cultural events and products (Fitzcarraldo, 2007). An artist can paint the Mona Lisa on the front of a house and even though it can be considered as art by most people, according to the law its vandalism. Thus, reform comes into play and various actions can be taken to help legitimise street art. In order for this to happen, the government would need to cooperate with the general public and create a non-profit organisation which works to protect specific public spaces as well as graphic festivals could be organised and designated areas for artists to express themselves could be given. In contrast with the societal views regarding street art, many benefits were raised that are usually ignored. As any kind of art, similarly, street art is an expression of the artists feelings and emotions. There are no legal opportunities for these young artists to create, develop and exhibit their work which is clearly and fundamentally a kind of art and not vandalism in action. Society should accept this form of art and protect it before the situation becomes worse. Street artists want to be considered, recognised and respected as artists (Rae Ferris, 2008). Chapter 3 Survey findings and analysis For the needs of this essay a survey was completed by the public. In the survey there were questions asking peoples opinion about street art in relation to their educational level, age, gender and the place they grew up. Due to the fact that each country deals with this issue differently, people may respond differently as well. Also their age and level of education is important since, it is possible to affect their opinion. The results obtained from the survey were analysed by SPSS. Interestingly, the results show that most of the respondents find this way of expression entertaining, beautiful and appealing to the eye rather than offensive and violent. (See appendix 1) On a question about whether street art should be displayed in streets most of the answers were positive. Nevertheless, it can be seen on appendix 2 that less people think it should be displayed in indoor places. They believe that street art should be displayed in its original environment. The age group thirty to thirty-nine, answered that they do not have a strong opinion about this kind of art being displayed in streets, but they strongly disagree with the idea of being displayed in indoor places. Furthermore, results showed that people between the ages of thirties-thirty nine disagree with street art that expresses political views but they agree with it when it expresses the artists him/herself. According to the findings displayed in appendix 3 younger people and people between the ages of forty to forty nine agree with street art displaying political messages. In the question whether people agree or disagree with graphic festivals being organized and designated areas for artists to express themselves being created, most people agree. By giving the artists a place to do whatever they feel, will reduce the unwanted. (see appendix 5) Overall, the feedback that was extracted from the survey was really positive and in most cases it can suggest that no matter what their age, gender, level of education or nationality people feel the same way about street art. Conclusion Art or vandalism; street art can be considered as both, due to the fact that is done on a public property which is more likely to offend anyone out there. However, there is no doubt that these people both influence and express the feelings of many other people in the society. This is the reason that there is great centralisation in each event they organise and the support they get from all over the world (Bret McNee, 2009). The definition of what is considered as art can be argued to no end but the government cannot define what that is yet, therefore street art requires social acceptance through legitimacy to be accepted as art. These street artists do not aspire to change the definition of their artwork but rather question the existing environment around them in their own language. Through their works, they aim to communicate with everyday people about socially relevant issues without any intention to offend or to create a conflict but rather make a connection with the general public through their artwork. People can argue for or against street art over and over again without coming up with a worldwide acceptable decision. There will always be disagreements. That is what makes street art interesting. It cannot be held, but it can be seen everywhere. It cannot be bought but it is often used to sell everything. Art is created to be seen and enjoyed, debated and discussed. Appendices Appendix 1 Appendix 2 Appendix 3 Appendix 4 Appendix 5 References

Mumia Abu Jamal Essay -- essays research papers

America, the land of the free, the land of the just. It is here, where paople from all over the world can come for refuge from tyranny. Here, people are not judged by their color, but by who they are. Too bad it isn't true, for what you are about to read will contradict everything that America is supposed to be. Mumia Abu Jamal, a former Philadelphia journalist, was put through an unfair and biased trial, then convicted of murdering a Philadelphia cop in 1982, and has been on death row since. And here is his story. "My name is Mumia Abu-Jamal ... I've been on death row since July of 1982 - in fact, I've been on several death rows in Pennsylvania, in the United States of America. Despite my penal status I'm a writer, a journalist, a columnist, and a professional revolutionary." -- Mumia Abu-Jamal (Wideman 107) Born 24 April 1954 Wesley Cook, Mumia Abu-Jamal, author, journalist and inmate of death row, is one of America's most powerful outspoken voices against injustice. Seen by the State as a dangerous revolutionary who must be silenced, he has been incarcerated for the last seventeen years. (West 2) Mumia Abu-Jamal was born in Philadelphia where he grew up. The name Mumia was given in High School, when he took an African name for his Swahili studies. The Arabic, Abu-Jamal, meaning Father of Jamal, came later. (West 5) Mumia's first introduction to politics was in his teens when he and a few friends attended a George Wallace presidential rally. They shouted slogans and raised their fists in a black power salute. To their relief they were thrown out, but their relief was short lived when they were set upon outside by a gang of white thugs. Rescue seemed at hand when the police were spotted, but their 'rescuers' joined in the assault, kicking and beating. Mumia was kicked in the face. (West 13) Mumia became a founding member of the Black Panther Party in Philadelphia and Minister of Information (fall 1968). Mumia filed reports from New York and other cities, but was mainly based in Philadelphia. For a time he worked in Oakland, California, on the staff of the party's newspaper. The Black Panthers were to give Mumia a good grounding in radical politics and it was where he cut his teeth as a journalist. When the Panthers began to tear themselves apart, Mumia left. (West 34) Mumia Abu-Jamal: "The prospe... ...p; West, Cornel. Death Blossoms : Reflections from a Prisoner of Consience. New York: Plough Pub House Publishing, 1997 "Mobilazation to Free Mumia Abu-Jamal." The Crime Scene. Website. Online. Internet. Available: www: http://www.freemumia.org/mumia_files/scene "Mobilazation to Free Mumia Abu-Jamal." The Trial. Website. Online. Internet. Available: www: http://www.freemumia.org/mumia_files/trial "Mobilazation to Free Mumia Abu-Jamal." The FOP and Their Lies. Online. Internet. Available: www: http://www.freemumia.org/mumia_files/fop "Mobilazation to Free Mumia Abu-Jamal." The Witnesses. Online. Internet. Available: www: http://www.freemumia.org/mumia_files/witnesses "Mobilazation to Free Mumia Abu-Jamal." Judge Sabo. Online. Internet. Available: www: http://www.freemumia.org/mumia_files/sabo "Mobilazation to Free Mumia Abu-Jamal." Support for Mumia. Online. Internet. Available: www: http://www.freemumia.org/mumia_files/support

Expanding the FMLA in CAlifornia Essay -- essays research papers

Problem Identification Every day in California, working men and women face conflicts between their work responsibilities and their families. In order to work they must make arrangements for their children and elderly family members who need assistance. They address these conflicts through a variety of child-care, after-school, and eldercare arrangements. But sometimes when a child is seriously ill, an aging parent’s health deteriorates suddenly, or a baby is born or adopted, these daily arrangements are no longer adequate. At such times of family need, an employee simply must take time off from work because no alternative care arrangements will do. That is why in 1993, Congress passed the Family and Medical Leave Act (FMLA), which was the first national policy designed to help working people balance their work and family responsibilities. It guarantees that people who work for companies with more than 50 employees can take up to 12 weeks’ unpaid leave a year to care for a newborn or newly-ado pted child or for certain seriously ill family members, or to recover from their own serious health conditions. Unfortunately, taking unpaid family leave is a luxury most Californians can not afford, so new mandates must be instituted to help insure that our state’s families can have a healthy and affordable balance between work and family responsibilities. Many groups have different views on how this issue should be resolved and that is why I have chosen to use the group theory to explain this problem. There are three workable resolutions that I have chosen to discuss; expanding the FMLA to cover businesses with 25-49 employees, expanding the use of sick leave, and expanding the State Temporary Disability Insurance (TDI) Program to provide partial wage replacement to employees who are on parental leave. Search For Solutions The first possible solution was formed when it came to public attention that many caregivers couldn’t afford to take unpaid family leave due to the laws restrictions. In a national survey it was discovered that nearly two-thirds of employees who needed but did not take family or medical leave because they could not afford it. In addition, almost one in ten FMLA leave-takers was forced to turn to public assistance to help cover the wages they lost as a result of taking family or medical leave. As if the unpaid restrictions weren’t enough, it tu... ...on(actual 1990 expenditure) Number of Employees Covered by TDI  Ã‚  Ã‚  Ã‚  Ã‚  11.1 million (1989) Eligibility Requirements for New Benefits  Ã‚  Ã‚  Ã‚  Ã‚  Employees must be eligible for state disability insurance Length of Absence Covered  Ã‚  Ã‚  Ã‚  Ã‚  12 weeks Purposes of Absence Covered  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚ · Care for newborn or newly adopted children · Care for ill parents, children or spouses Estimated Number of Leave-takers Likely to Use New Benefits  Ã‚  Ã‚  Ã‚  Ã‚  619,250 Average Weekly Benefit  Ã‚  Ã‚  Ã‚  Ã‚  $102.82-193.57 Estimated Length of Leave  Ã‚  Ã‚  Ã‚  Ã‚  5-10 weeks Estimated Total Annual Cost of Expanding TDI to Include Family Leave  Ã‚  Ã‚  Ã‚  Ã‚  $835 million New Cost as a Percentage of Total Program  Ã‚  Ã‚  Ã‚  Ã‚  34 percent Average Cost Per Covered Worker  Ã‚  Ã‚  Ã‚  Ã‚  $6.27 / month$1.45 / week   Ã‚  Ã‚  Ã‚  Ã‚  So by reviewing the data it seems probable that expanding the SDI to include family leave would be a feasible and logical solution that most Californians and politicians would stand behind and implement.

Ethnocentrism Definition Essay

What is ethnocentrism? Are ethnocentric values reflected in mass media? If so, provide examples. If not, why not? Ethnocentrism is when one places a culture, values, and views over that of another culture. This can be associated with American popular culture as the message with any popular trend tends to be a popularity contest. Quite often products are sold based off the insinuation that it is better than any other product out there. For instance, a popular recurring fad is the Michael Jordan shoe, Air Jordans. These shoes have been around for years and have earned its popularity through many communities. The shoe is so popular and exclusive that older shoes from the past are re-launched for those that were unable to get them on the original launch date. The message that is present within the advertisement is that wearing Air Jordans makes you ‘cooler’ than anyone else not wearing them. This can too be applied to any other name brand item such as cereal. General Mills has a message out there that you get more nutrients from their cereal over any brand. This may also be associated with religious and different ethnic groups when one believes that their religion is better than the other based off of their own values and beliefs. Being ethnocentric can definitely drive a wedge between relationships as it is a form of prejudice. One should practice being more receptive of other cultures and beliefs to help avoid conflict and form personal connections with individuals within another culture.