Romance In The Ufa Cinema Center Architecture Essay

Bernard Tschumi is regarded as one of the universe s open uping designers, rejecting the diehard outlook and one of the few bow smugglers of deconstructivism. His essay, The Pleasure of Architecture which was written in 1978 manifests his theoretical thoughts of the pleasances in architecture, in which he stresses on the inutility of architecture and the inclusion of perversion and the irrational. It talks about sensualness and sexual analogies such as erotism, surplus, bondage, seduction and bounds of architecture which he represents in 11 fragments. One of Tschumi s most celebrated undertakings, the Parc de la Villette is the prototype of his deconstructivist thought. It breaks off from functionalist theories of the past and is designed as a twenty-first century urban park, where plans and superimposition of systems comes into drama and the construct of signifier follows map becomes a polar antonym. The UFA Cinema Center by Coop Himmelb ( cubic decimeter ) gold, the brace who chall enges traditional anthropocentric architecture and is categorized as deconstructivists, besides incorporates the thought of deconstructivism, with its urban construct, dynamic geometries and injection of public infinites. It became one of their noteworthy plants in deconstructivist thought. The first portion of this paper discusses on Tschumi s fragments in The Pleasure of Architecture, the significances that they carry and his impression of pleasance derived from those fragments which are closely related to one another. In relation to that, how his theory on deconstructivism is incorporated into the Parc de la Vilette and the pleasances that manifest from it. Separate two discusses on Coop Himmelb ( cubic decimeter ) gold s UFA Cinema Centre, how it relates back to Tschumi s fragments and how it s deconstructivist design transforms it into an architecture of pleasance. How does Bernard Tschumi s impression of pleasance and deconstructivism manifest in the Parc de la Vilette? Harmonizing to Tschumi, pleasance can be achieved from two types of resistances, the intercession of the norm in which society expects of what architecture should be, usefulness which leads to its inutility ( Tschumi, 1977 ) , and the un-intendancy to make a infinite for map that was either with purposes or inadvertent which forms a disjuncture ( Tschumi, 1981 ) . Tschumi distinguishes pleasance from cloud nine or rapture, in which this apprehension was influenced by Roland Barthes book The Pleasure of the Text ( Hill, 2003 ) . In The Pleasure of Architecture, fragments of gender separate Tschumi s thoughts of pleasance and some of which can be seen in the Parc de la ViIlette. Bernard Tschumi s Parc de la Vilette emerged as a victor in a park design competition held by the Gallic Government in 1982. The purpose was to mean the beginning of a new epoch in an of import portion of Paris, to guarantee its future good development. ( Damiani, 2003 ) . It is a coaction of Tschumi, Peter Eis enman and Jacques Derrida, the three being deconstructivist designers and Derrida, the precursor of deconstruction ( Kipnis, 1991 ) . Double Pleasure. Neither the pleasance of infinite nor the pleasance of geometry is ( on its ain ) the pleasance of architecture. It is both. ( Tschumi,1977 ) . Tschumi s first fragment explains that the pleasance in architecture is neither the enjoyable experience of infinite nor the creative activity of signifier and geometry entirely but the hit of both. This manifests in the Parc de la Vilette, where the superimposition of three different systems: Points, lines and surfaces is seen ( Damiani, 2003 ) . Figure 1: Lines, Points and Surfaces. ( Masschelein & A ; Straeten, n.d. ) The points are represented by the distinguishable ruddy mental disorders which appear as three floor regular hexahedrons in which no map was intended to it, hence go forthing it as an unfastened infinite. He used the thought of repeat to distinguish each mental disorders, with geometries lodging to it as the lone noteworthy difference. ( Masschelein & A ; Straeten, n.d. ) . This creates the pleasance of geometry. Figure 2: Images of some of the follies. ( Park De La Villette, Paris, France: Bernard Tschumi Architects ) The signifier of the mental disorder was designed before it was given a map, following the rules of deconstructivism. ( Turner, 1994 ) . The 2nd system, the lines, structures the circulation of walkers and a additive infinite is created, taking one towards interesting positions and musca volitanss. ( Masschelein & A ; Straeten, n.d. ) . This creates the pleasance of infinite. The 3rd system which is the surface signifiers big horizontal infinites for the usage of assorted activities and once more the pleasance of geometry comes to light. ( Masschelein & A ; Straeten, n.d. ) . The superimpositions of these systems collide and therefore it is a pleasance of architecture and the separation of the systems three signifiers deconstruction. The pleasance of infinite: This can non be put into words, it is mute. It is the signifier of experience ( Tschumi, 1977 ) . In order to experience pleasance in a infinite, one must see the existent thing and that it can non be described with words entirely. This can be represented in the superimpositions of the park, where its complexness, described in text is inexplicable compared to one sing the existent thing. Pleasure and Necessity Tschumi touches on the inutility of architecture and how designers are confronting societal constrains, where unreason of architecture is regarded as incorrect. ( Tschumi, 1977 ) . The necessity of architecture may good be its non-necessity ( Tschumi, 1977 ) . He argues that architecture should be useless, and serves no intent, contrary to what society expects it to be. ( Hill, 2003 ) The abuse of and denial of the norm, uselessness becomes utile, that is enjoyable. ( Hill, 2003 ) . Tschumi provinces that a park is like pyrotechnics, used for production and ingestion, it is useless but at the same clip it made to provides pleasance. ( Hill, 2003 ) . Parc de la Villette is designed without a set map in head, its model and organisation allows an interchange of people, events and infinites which contributes to more freedom and looks in the park. Partss and constructions can be easy replaced and shifted while still keeping its individuality with the thoughts of deconstructivism, this rej ects the traditional regulations of urban Parkss therefore its freedom is regarded as useless and a non-necessity, this abuse becomes a pleasance in architecture. ( Pugh, 2004 ) Metaphor of Order- Bondage This fragment focuses on the restraints of architecture, in the signifier of regulations, theories, Torahs and past functionalist tenet. Like the game of bondage, it is sadistic, miring architectural design like adhering ropes. Pleasure derives when the restraint is greater, and the idea of get the better ofing that sophisticated bind. ( Tschumi, 1977 ) . Figure 3: Ropes and regulations. ( Damiani, 2003 ) The Parc de la Villette was portion of a competition in which Tschumi had won. There were protests from landscape interior decorators on the engagement of designers and at the same clip, political alterations were made, and economic crisis was at a high. ( Damiani, 2003 ) . These were the restraints that Tschumi had to face at the clip along with the historical background of the site, being a abattoir antecedently and one of the last leftover big sites in Paris. ( Damiani, 2003 ) . Rationality In this fragment, it states that architecture should travel against traditional rules which are regarded as out-of-date and that its continuity on reason becomes irrational. Like the principals of deconstructivism, in which its upset and unconventional methods are regarded as irrational and interrupting free from traditional discourses. ( Tschumi, 1977 ) This is seen in the ruddy mental disorders which spreads along the park, each different signifier one another, and how they were non assigned a map in contrast to past rules. Eroticism The fragment of Eroticism says that pleasance is non about the contentment of the senses nor is it the sensualness of infinite. Eroticism is non the surplus of pleasance, but the pleasance of surplus. ( Tschumi, 1977 ) . Is it in fact a junction between infinite and constructs, ( Tschumi, 1977 ) . Figure 4: Eroticism. ( Damiani, 2003 ) In the instance of the Parc de la Villette, its disjuncture of infinites and events was made to be knowing or inadvertent, with complex programmes scattered from one another making a contrast of maps. ( Hill, 2003 ) . Figure 5: Plan View of Parc de la Villette. ( Pugh, 2004 ) Metaphor of Seduction- The Mask This fragment provinces that architecture is a seducer, have oning masks, concealing behind frontages and architectural elements. Yet behind those provocative masks lies the pleasance of architecture. ( Tschumi, 1977 ) . Figure 6: Masks. ( Damiani, 2003 ) With its big country compromising assorted and different maps and programmes of amusement installations, its architectural elements becomes the mask of the Parc de la Villette, non cognizing what to anticipate from each component as there is no set map or hierarchy. Yet unveiling what map lies behind it leads to pleasure. Excess The fragment Excess negotiations about interrupting free and transcending outlooks. It states that architecture should non copy the past nor should architecture obey it. It should make semblances ; interrupt free from formalities, orders, systems and case in points. It should be different and be something formal society does non anticipate it to be. That is the ultimate pleasance, when regulations and bounds are considered incorrect and architecture becomes better than it should be. ( Tschumi, 1977 ) . The thoughts of deconstructivism and pleasance one time once more manifests in the park s system of points represented by the grid of mental disorders. Figure 7: Grid of Mental disorders. ( Pugh, 2004 ) It replaces the traditional inactive park memorials by holding alone infinites and hosting assorted programmes. It becomes mention points for the park every bit good, holding room for extensions since it is non imposed with hierarchy. ( Pugh, 2004 ) . This abnormality deconstructs the traditional outlook and functionalist discourses. ( Masschelein & A ; Straeten, n.d. ) . Architecture of Pleasure This fragment besides talks about construct and infinite colliding, deconstruction of past principals and where regulations are transgressed and is considered perverse. ( Tschumi, 1977 ) . Figure 8: Transgression. ( Damiani, 2003 ) The parks superimposition of three systems is irregular, additive and undulating, in contrast to the controlling and stoic 1s found in traditional Parkss. They do non take you to specific topographic points or a series of musca volitanss, they are random, merely moving as tracts in which you walk on. They are useless but this is the pleasance of architecture when it becomes something that society does non anticipate it to be. Desire/Fragments The last of the fragments high spots that architecture consists of fragments which exists in text and in dreams. It is the receiver of 1s thoughts and wants. Its elements seduce and wish to be brought to world. ( Tschumi, 1977 ) . The Parc de la Villette is the consequence of Tschumi s, Derrida s and Eisenman s coaction in making the ultimate urban park of the twenty-first century. It was derived from the designers theories of deconstructivism and was brought into world after winning a competition. The consequence of Tschumi s winning strategy with the aid of the other two is one of the universe most celebrated Parkss. The Parc de la Villette is an architecture of pleasance. Its early strategies, superimposition of three systems and mental disorders demonstrated its mention to Tschumi s fragments of The Pleasure of Architecture every bit good as the thoughts of deconstructivism. The denudation of these fragments will be used to associate to the UFA Cinema Center, how pleasure manifests from it in relation to Tschumi s impression of deconstructivism and pleasance. How does Coop Himmelb ( cubic decimeter ) gold incorporate their construct of deconstructivism into 1s indulgence of pleasance in the UFA Cinema Center? Coop Himmelb ( cubic decimeter ) gold came to be from the celebrated coupling of Wolf D. Prix. and Helmut Swiczinsky in 1968. The squad follows theoretical thoughts of antihumanism and facets of the organic structure, which is perceived as a atomization and decomposition, carried unto the design of their edifices under the subject of deconstructivism. ( Masschelein & A ; Straeten, n.d. ) . Like other deconstructivist designers Tschumi, Eisenman and Derrida, Coop Himmelb ( cubic decimeter ) gold challenges the constrains of the past such as Torahs, orders and formalities of given manners that is embedded into architecture and seeks for freedom and alteration in its subjects. ( Coop Himmelblau, n.d. ) . Their extremist thought brings 4th the UFA Cinema Center, their iconic work based on the theory of deconstructivism. Double Pleasure The film centre was completed in 1998, located in the historical site of Dresden, Germany. The edifice can be summarized as Eight films are placed in braces on four narratives in an unmoved concrete box, which due to its pick of heavy stuffs screens both the cinemagoer every bit good as the glass anteroom from the traffic noise of the next ring route. ( Skude, n.d. ) . The film centre was made to work out the job of public infinites in Dresden that is being sacrificed for the interest of development. ( Coop Himmelb ( cubic decimeter ) gold, 2001 ) . Therefore a monofuctional edifice was proposed that adds urban infinites and maps inside, making a new experience of public infinites. ( Coop Himmelblau, n.d. ) . Tschumi s first fragment provinces that pleasance can be derived from the hit of spacial experience and geometry. The film can be divided into two linking units, the film block and the crystal. The film block non merely maps as a topographic point for films but serves as a perme able infinite which links with the environing streets, making a connexion between Pragerstra vitamin E and St. Petersburger Stra e. ( Coop Himmelb ( cubic decimeter ) gold, 2001 ) . The crystal serves as both entry hall for the film every bit good as urban passageway, with Bridgess, inclines and stepss linking multiple degrees, enabling positions in different angles. This experience is like that of a movie construction. ( Coop Himmelb ( cubic decimeter ) gold, 2001 ) . Therefore a dual pleasance in architecture is created form the occasions between the edifices geometrical drama that creates public infinites on the interior and the assorted maps that is injected into it. Figure 9: UFA Cinema Center, aerial position. ( pmoore66, 2009 ) Pleasure and Necessity Dresden is considered as a metropolis with historical values and an edgy society, constructing a film centre at the site was thought to be unusual. ( Skude, n.d. ) . The cinemas milieus consist of post-modern manner edifices with nil particular nor out of the ordinary. Public infinites were a job therefore the film is injected with a host of assorted maps to make public insides. To suit these infinites an extreme formed edifice in the form of a knife and stone was created with contents that functions out of the norm, hanging skybars, inclines and stepss placed irregularly and occasions of stuffs. These characteristics oppose the traditional thoughts of orders and formality ; it is uncomprehended by societies believing and hence rendered as useless. But it is this uselessness that becomes utile in making a edifice that maps good. The abuse of this edifice hence brings out pleasance. Figure 10: Section of UFA Cinema Center. ( Oasis China, 2005 ) Metaphor of Order- Bondage The film Centre is located on a triangular like site clouded with past memories of World War 2, confronting the busy steets of St Petersburgstrasse. Owned by developers with thoughts of capitalising fiscal returns. ( Coop Himmelb ( cubic decimeter ) gold, 2001 ) . Society there was rejuvenated after post-war and is considered to be conservative. ( Skude, n.d. ) . Constructing a modern film composite which incorporates the designers thoughts of deconstructivism would be unusual if non perverse. They were bound by the heritage values of the site, the proprietors, and society s outlooks. Nevertheless a one of a sort edifice of that epoch arose from the ashes, disputing the old post-war designs and conservative outlooks. It was a edifice that was bounded by tight Torahs and restraints doing it even more enjoyable when it breaks free. Figure 11: Coop Himmelblau- UFA Cinema, 1993-98. ( roryrory, 2003 ) Rationality Coop Himmelb ( cubic decimeter ) gold emphasizes the signifier of this edifice for the interest of look ( Skude, n.d. ) , doing manner for a extremist and curiously shaped edifice, withstanding traditional Torahs and comprising of complicated inside informations and multiple kinds of infinites jumbled up in two different blocks. The crystal, looking as though it could structurally neglect at any clip comprises of an lift tower that bends back and Forth as it moves, albeit traveling vertically like a normal lift. ( Skude, n.d. ) . The unreason of this edifice hence creates pleasance. Figure 12: The lift tower. ( UFA- Kino â€Å" Kristallpalast † , n.d. ) Eroticism The thought of the UFA Cinema centre was to make a monofucntional edifice with inclusions of new urban infinites and media events inside to undertake the job of public infinites, and at the same clip integrating Coop Himmelb ( cubic decimeter ) gold s construct of deconstructivism. ( Coop Himmelb ( cubic decimeter ) gold, 2001 ) . From there a unambiguously characterized edifice in the signifier of two irregular forms was created. The glass crystal which acts as a five narrative anteroom, is angled to contrast with the more closed film block ( Coop Himmelb ( cubic decimeter ) gold, 2001 ) , and the thoughts of deconstructivism is more to a great extent applied. It connects to the exterior infinite utilizing its openness, and enables extremist prevarication of inclines, stepss and overcrossings which are reminiscent of Piranesi s plants. ( Coop Himmelb ( cubic decimeter ) gold, 2001 ) . In the centre of the anteroom, are heavenly bars which are hung from the ceiling making a sense of drifting in infinite. ( Coop Himmelb ( cubic decimeter ) gold, 2001 ) . With this a junction of infinite and construct is created, doing it titillating. Figure 13: Heavenly bars. ( Coop Himmelb ( cubic decimeter ) gold, 2001 ) Metaphor of Seduction- The Mask Public infinites are being eradicated for development as is acquiring lesser as we know it ; this is what Dresden is confronting. Public infinites are going unseeable as they are taken off. The film centre proves that urban public infinites can be created with development and can be physically seen without going unseeable. ( Wells, n.d. ) . The crystal anteroom is able to host assorted events and maps such as a coffeehouse, it acts as a public square at the same time. ( Coop Himmelb ( cubic decimeter ) gold, 2001 ) . This is done by making a suited signifier to back up the programmes. The inclines and stepss that forms a circulation within the crystal allows positions to the outside from different degrees and at the same clip positions to the interior of the edifice through opaque beds. ( Wells, n.d. ) . The film block hosts eight films every bit good as being permeable to the streets. The edifice itself is a public infinite, masked behind playful geometries and hit of stuffs, when y ou discover what lies within, it becomes enjoyable. Figure 14: kakteen ecke. ( thost, 2007 ) Excess The UFA Cinema Center was unexpected, its modern like design is like an foreigner on the background of the old site. Coop Himmelb ( cubic decimeter ) gold ne'er intended to associate the edifice to its milieus. ( Coop Himmelb ( cubic decimeter ) gold, 2001 ) . It started with the triangular form of the site, from there a triangular signifier is faced pointed to a corner of the film floor program while the fa ade steeply slopes outwards, making a signifier of that a knife or ship. The crystal, appears like the signifier of a propensity stone, resting against the film block and made of opaque glass, structured with steel rods around it, a contrast of the unsmooth film bunch. ( Coop Himmelb ( cubic decimeter ) gold, 2001 ) . The edifice uses a robust of stuffs, glass, concrete, slabs of galvanized gratings, subdivision, stepss and supports made of unstained steeI, and aluminium window mullions. ( Coop Himmelb ( cubic decimeter ) gold, 2001 ) . It is deconstructed, clearly free from trad itional orders and logics. The edifice exceeded the outlooks of society and it is different, it creates semblances and did non obey the yesteryear, it became better than it should be. Figure 15: Axonometric drawing. ( Coop Himmelb ( cubic decimeter ) gold, 2001 ) Figure 16: The playful edifice. ( Oasis China, 2005 ) Architecture of Pleasure The film centre proudly stands tall on the site of Dresden, as though cognizing the lower status of its encompassing architecture. As quoted from Coop Himmelb ( cubic decimeter ) gold, We do non work against the old construction in order to destruct it. We work to make new infinites, where and when possible. If an old construction prevents us from making unfastened infinite, we destroy it. ( Coop Himmelb ( cubic decimeter ) gold, 2001 ) . The film centre does non take into consideration its environing context nor will it give up to it. It is different, it does non follow typologies, logical building, formal orders or civilization. The disconnected signifier of the atilt crystal and the film block complete with interplays of stuffs making an internal urban public infinite transgresses traditional regulations. It is an architecture of pleasance because it is obsessed with itself. Figure 17: Ufa palast. ( lipar, 2008 ) Desire/Fragments The UFA Cinema Center was a consequence of the demand to make a monofunctional edifice to work out the job of public infinites in Dresden. It is made with purposes of maximal capital returns. ( Coop Himmelb ( cubic decimeter ) gold, 2001 ) . The thought of making a edifice which incorporates public infinites and media events into it, making an urban infinite. Coop Himmelb ( cubic decimeter ) gold brought it to life by chalk outing a psychogram with the undertakings maps and thoughts which are mock created in an artistic manner. The whole procedure including the edifice are fragments. Each unconscious desire and purpose is reflected in the creative activity of the edifice taking to a creative activity which exceeds bounds and defies outlooks. The deconstructivist thoughts of Coop Himmelb ( cubic decimeter ) gold can be seen in the manifestation of the UFA Cinema Centre in line with the manifestations in Tschumi s Parc de la Villette. The deconstruction of its architectural elements and the dynamism of its signifier is represented with the film block and the propensity crystal which creates public infinites indoors. The hit of these two facets creates pleasance, and it is titillating. The interplay of stuffs, injection of infinites and connexion between its inside and outside, forms its mask. The film centre, restrained by the site and its society like a game of bondage overcomes it with an architecture which surpasses bounds and outlooks. This one of a sort edifice of its epoch came to be from the designers desires of deconstruction and is an architecture of pleasance.

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Reducing Juvenile Delinquency Essay Example | Topics and Well Written Essays - 1000 words

Reducing Juvenile Delinquency - Essay Example There is a great variation in the manifestation of delinquency and the underlying factors behind them. Peer pressure, poor parenting, the media influence, and other societal factors are cited as some of the causes of juvenile delinquency. Addressing the matter would require multiple approaches that incorporate the input from different sectors of the society. This paper seeks to illustrate various aspects associated with juvenile delinquency and measures taken to lower the prevalence rates. Juvenile delinquency refers to the violation of law committed by a person under the legal age, and one that defies parental control, which makes him or her subject to legal action. Alternatively, a juvenile delinquent could be defined as an under aged person who has been found guilty of a crime but is protected by the law as a minor, which absolves them from full criminal responsibility (Snyder & Sickmund, 2006). Normally, such violations fall outside the strict understanding of the law in the same way that it may apply to an adult offender. This implies that the violations may not be punishable by death or life imprisonment. The main objective of interventions is the rehabilitation of the underage offenders in order to convert them into law-abiding citizens. Institutions such as juvenile detention centers and courts assist in the dispensation of legal interventions based on specified procedures in the legal system. The age of criminal responsibility may be lowered in accordance with the nature and seriousness of the crime. This would imply that the individual could be tried as an adult in some specific cases. However, it is usually considered that the age factor of a juvenile delinquent makes them incompetent to stand trial. The assumption is that under age offenders lack mature judgment and cannot be held fully responsible for their actions. Children and young adults may be influenced to engage in certain activities that go against norms, laws, and expectations of the socie ty. Such actions may develop into consistent patterns of behavior that render the children into juvenile delinquents. On a wider scale, juvenile delinquency may yield significant social disorder. Past and recent surveys have indicated that a high percentage of children and adolescents engage in activities that are in violation of the law. The reality of the situation is illustrated in the drop in the average age of first arrests made among young people. This can be attributed to the common notion that juvenile offences are normative adolescent behaviors. However, repeated or chronic offenders are most likely to carry on with the trend away from adolescence and turn into criminal elements or outlaws. At a tender age, delinquent behavior involves minor theft, but can evolve to violent acts involving the use of weapons as the individual nears the statutory age. Other delinquent behaviors include bullying, truancy, vandalism, assault, gangs, and sexual offences. It is for this reason th at persons under the statutory age can be charged as adults depending on the severity of the crime. National statistics indicate an increase in the number of juvenile delinquency cases owing to numerous social factors within the society. Juvenile delinquency has its impacts on the victims as well as the society. Damages incurred by the victim may be in the form of injury or loss of property. Such an eventuality could be construed as a loss in productivity during that period. The victim may also

The Reformation Essay Example | Topics and Well Written Essays - 500 words

The Reformation - Essay Example Martin Luther with the help of his colleagues introduced a new order of prayers at their Electoral Saxony of 1527. He completed many religious literary pieces including his German Mass which was his simpler form of his earlier Latin Mass. The idea was to make religious teachings and scriptures easier for common people. He believed that Catholic Church was not letting people understand the religion, instead they were coming up with their interpretations of the teachings of Christ as they found fitting. What started as a question or a challenge to Catholic teachings turned into a massively popular protestant movement in Christianity. The Scientific Revolution Galileo Galilei (1564-1642) was one of the greatest scientists of the era of Scientific Revolution. He was an Italian physicist, mathematician, philosopher and astronomer. Galileo constructed his famous theory of heliocentrism which apparently was contradictory to Biblical Scriptures. According to this theory, Galileo correctly demonstrated the orbit of the solar system by stating that the sun is the center around which the earth and other planets revolve. This didn’t sit well with the Catholic Church who blamed Galileo of committing heresy as his theory was against the reading of the scriptures; â€Å"The world is firmly established, it cannot be moved† (1 Chronicles 16:30). Galileo faced a trial on suspicion of heresy. Today he is recognized as the iconic challenger in the face of Church’s Authority. In 1633, Galileo faced his trial which found him guilty of heresy. He was imprisoned and his famous work on solar system orbits, Dialogue was banned.

Willow Garage Essay Example | Topics and Well Written Essays - 1000 words

Willow Garage - Essay Example Among the positive values that other companies should emulate is sharing information as well as not concentrating on monetary gains. This way such companies remain productive and relevant, which in turn increases their consumer base relating to more profits. There is a common clichà © that knowledge is power, and information not shared is useless. This, in my opinion, is the light that guided the Willow Garage in its endeavors. The company availed ROS, which was associated with a library of information and tools that equip other researchers with the necessary software needed to develop robot applications. In addition, ROS also provided visualizers, device drivers, package management and message-passing that facilitated engineers’ understanding of video, 3D data and camera (Tobe, 2011). By availing this information, other robotics researchers are able to build off from the company’s foundation, as opposed to starting their research work afresh (Ashlee, 2014). In so doing, Willow garage emerges as the greater party compared to other companies. This is because it shares its findings with the world. In other words, it is more concerned with the advancement of robotics for the benefit of the world than building its own name. F urthermore, the work of the company is not lost as other researchers carry on with it. Similarly, companies should share their work and findings with others so that in the occurrence of any event leading to shutting down of the company, others can continue their legacy. Most businesses are profit-oriented. Because of this, most of their dealings are quantitative as opposed to qualitative. Such businesses do not care much about quality of their products and services. Moreover, their dealings are often confidential so that their competitors do not get wind of their work. In cases where they avail some of their information, there is always a cost involved. This is contrary to Willow Garage’s

Week 4 A 2 Case Study Example | Topics and Well Written Essays - 250 words

Week 4 A 2 - Case Study Example This will also help her to make decision on whether to develop a system which she will use for training or offer training manually. The most important aspect of system development is its implementation. This will require approval from management and users of the system. The system should meet needs of the users and also be cost effective. To ensure this is achieved, Susan should assess its efficiency using rate of return, payback period, or net present value methods. Payback period refer to duration which revenue gained from a project will cover the expenditure incurred for its implementation. It is a simple method to use before decision making. However, this method ignores time value of money. Rate of return method is also useful to calculate the total amount of revenue generated from a project. It is useful when comparing more than one project and is also easy to use. However, it ignores projects with low returns at the initial stages but yielding high returns in the future. It also fails to take into consideration time value of money. Finally, she may decide to use net present value method, whereby she will consider the future returns of a project and value them at present time. This method takes into consideration the entire project lifecycle. However, it difficult to calculate since it requires people with professional accounting

Motivation Case study Essay Example | Topics and Well Written Essays - 1500 words

Motivation Case study - Essay Example A job that possesses higher levels of these core characteristics is higher in motivating potential. This relationship between job characteristics and employee motivation is moderated by the employee's growth-need strength. The relation between the presence of high levels of the core job characteristics and motivation on the job is stronger for individuals who have strong growth needs. The job characteristics model provides a conceptual frame work for improving the amount of motivating potential inherent in the design of the job through increasing skill variety, task identity, task significance, autonomy, and feedback from the task itself. Changing elements of the job's design to strengthen these core motivating characteristics is known as job enrichment (McKenna n.d, 199). At Disney under Iger's leadership, the employees have been given a relatively relaxed hand to perform the tasks they are good at with the top management not getting into micro-management. This allows employees to make decision based on their own judgments and requires a more complex level of skills. Hence the skill variety of the employees has been increased under Iger. The increased level of delegation that the employees enjoy along with the autonomy to perform tasks as they see fit has been one of the prime reasons for the higher motivation levels at Disney under Iger. Employees feel that their contribution to the work they perform is greater now and they are able to take their job to completion and therefore can enjoy a certain sense of ownership about it. The greater level of skill variety, task significance and task identity has led the Disney employees to experience a greater level of meaningfulness in the work they perform, as is shown by the JCM requirements in the diagram in the appendix. This was in sharp contrast to Eisner's strategy of increasing his own influence and squashing the confidence of the employees to make own decisions and hence, decreasing their perception about the contribution they make to the work. This has led to higher internal work motivation and higher quality performance as employees have been able to concentrate on the creative aspect and do what they are good at. This has ensured that even if the top management is not creative, the steady influx of creativity from the employees and people good at their work has kept the star of Disney burgeoning. 2- How can equity theory explain the difference in motivation of employees working under Eisner, as compared to having Iger as CEO Discuss. The Theory Equity Theory attempts to explain relational satisfaction in terms of perceptions of fair or unfair distributions of resources within interpersonal relationships. It asserts that employees seek to maintain equity between the inputs that they bring to a job and the outcomes that they receive from it against the perceived inputs and outcomes of others. The belief is that people value fair treatment which causes them to be motivated to keep the fairness maintained within the relationships of their co-workers

To determine enthalpy change Essay Example for Free

To determine enthalpy change Essay Chemistry Lab report 1) Experiment No: 8A 2) Objective: To determine the heat of formation of calcium carbonate. 3) Date: 26th Nov, 2010 4) Theory: The experiment consists of 2 parts: a) In the 1st part, an accurately weighed known mass of calcium is added to a given dilute hydrochloric acid. During the addition, the following occurs: Ca(s) + 2H+(aq) Ca2+(aq) + H2(g) With the help of the data of heat change of the solution mixture, the average heat evolved by one mole of calcium during the reaction can be calculated. b) In the 2nd part, an accurately weighed known mass of calcium carbonate is added to a given dilute hydrochloric acid. During the addition, the following occurs: CaCO3(s) + 2H+(aq) Ca2+(aq) + CO2(g) + H2O(l) With the help of the data of heat change of the solution mixture, the average heat evolved by one mole of calcium carbonate during the reaction can be calculated. After that, by using a suitable energy-cycle diagram, and applying Hesss law, the heat formation of formation of calcium carbonate can be calculated. 5) Procedure: Please refer to the lab. manual 6) Data: 1st Part: Reaction of calcium with dil. Hydrochloric acid Experiment No: 1 2 Mass of Ca used / g 0. 53 0. 51 Volume of hydrochloric acid used: 100cm3 2nd Part: Reaction of calcium carbonate with dil. Hydrochloric acid Experiment No: 1 2 Mass of CaCO3 used / g 2. 13 2. 05 Molar mass of calcium carbonate = 100 g/mol Volume of hydrochloric acid used = 100 cm3 7) Calculation: Note: No temperature drop can be observed after the max temperature is attained for 4 readings. Note: No temperature drop can be observed after the max temperature is attained for 4 readings. Extrapolation procedure cannot be done. Therefore, the temperature change of 1st part exp. = 28-25 = +3oC the temperature change of 2nd part exp = Enthalpy change in 2nd parts reaction Hf [H2O(l)] = -242000 J mol-1 Hf [CO2(g)]= -393500 J mol-1 source: physical chemisty I of Fillans By Hesss law: Hf[CaCO3(s)] = H1 + Hf [H2O(l)] + Hf [CO2(g)] H2 = -688. 79 kJ mol-1 8) Discussion 1. Why is the exact concentration of hydrochloric acid unimportant? The exact concentration of the hydrochloric acid was unimportant as it was present in excess, that was, to provide enough H+(aq) to react with calcium. At the same time, the exact concentration of hydrochloric acid would affect the calculation afterwards. 2. State the law which you use for calculating the heat of formation of calcium carbonate. On which thermodynamic principle does it depends? The law used was the Hesss law. It depends on the standard enthalpy change of a reaction is independent of the route by which the chemical reaction takes place, which only depends on the difference between the standard enthalpies of reactants and products, i. e. conservation of energy. 3. Why is this law useful? This principle is useful as the standard enthalpy change of some reaction might not be able to find directly, and thus Hesss law can be used and the standard the enthalpy change of the reaction can be calculated indirectly by this method. 4. Discuss the possible sources of errors. State how to minimize the possible errors. A. The solid labeled calcium is suspected to be calcium oxide, which show white color but not grey shinny color. B. Heat produced the reaction might heat up the air inside the beaker, which cannot be avoided. C. Error in reading thermometer D. Error in weighing.

Music as a Tool for Learning

Music as a Tool for Learning The teaching of music in Primary Schools is an area of education that has seen dramatic changes in the last few decades. From a situation where music teaching was almost non-existent in some schools, and where in others young children were frequently alienated from music by being banned from choirs or told they were ‘tone-deaf’, music is now strongly represented within the National Curriculum. Current thinking emphasises that there is no such thing as a completely unmusical child, and the curriculum has moved from an emphasis on performance – often for the relatively gifted only – and passive listening to encompass composition, performance and critical appraisal part of the musical education of every child. This study considers music within the broader context of Primary education, considering the benefits of integrating music into other areas of the curriculum, and looking at the implications for learning bearing in mind that music in itself has been linked with improved behaviour and concentration (Glover and Ward 1998: 14), and thus may be considered conducive to a desirable learning environment for all subjects, and, furthermore, to the social and mental well-being of Primary school children. The development of modern Primary music education can be traced back to the introduction of the National Curriculum in 1987, although music at the time was considered low priority, and was not included in the Curriculum until 1991. When the National Curriculum was introduced, many teachers questioned its viability: it moved away from the topic-based teaching which had embraced a number of subjects without specifying distinct areas such as history or music or language. It was felt that by focusing on the topic rather than specific academic subjects, lessons held more interest for children. However, a number of educationalists had criticised the topic-based approach because of its lack of objectives and limited focus on specific achievement, and the National Curriculum sought to address this. Today, best practice is considered to be somewhere between these two approaches: subjects are distinct from each other, but a focus on the links between different disciplines is encouraged, and it is in this environment that incorporating music into cross-curricular activities can be particularly beneficial. The past few decades have seen a significant change in the delivery of music education. The Plowden Report (1967) recognised the importance of ‘non-specialist’ teachers being able to deliver music teaching : â€Å"It is to the musical education of the teacher that attention must first be given†¦ Comparatively few primary schools†¦can, for some time to come, expect to have a music specialist as a full-time member of the staff and it is even doubtful whether a specialist responsible for most of the teaching is desirable. It is the musical education of the non-specialist which, in our view, is the key to the problem.†(Web link: Plowden Report para. 690) It was over two decades before this thinking began to be properly implemented. In the meantime, schools relied on music specialists –teachers who were trained musicians, almost always skilled pianists –and this led, at best, to a detachment of music-teaching from the rest of the curriculum, delivered by the class teacher, and, at worst (where a specialist was unavailable), marginalised or non-existent music education. The development of a National Curriculum for music which is intended to be delivered by classroom teachers without any music specialisation has allowed it to be linked with other work more easily.More significantly still, delivery by the class teacher who, through far more exposure to the class than the ‘once-a-week music teacher’,understands the dynamic of the class and the individual pupils’situations, enables that teacher to deliver music teaching in a way that engages the class more readily and meets their specific needs. In 1991, the National Curriculum for Music was developed quickly,with limited research and, in many areas of music teaching, no accepted‘good practice’ that could be incorporated into the plan. In 2000, anew National Curriculum for Music was introduced that could take account of what had been learnt through the 1990s. The announcement of the government’s Music Manifesto in July 2004 suggested a further commitment to music education, with the aim that every child should have the opportunity to learn a musical instrument. Although this could be considered a move away from classroom music teaching, with the requirement for peripatetic instrumental teachers and the demands made on limited school time, the potential outcome is a future generation who consider a wide range of music to be part of their culture and experience, rather than something for their more gifted or more affluent classmates. In order to consider how music should be used across the Primary curriculum, some thought should be given to the ways in which children learn. There are various theories of learning: at the extremes are maturation, which suggests children should be left to learn through their own experiences, and behaviourism, which advocates learning through instruction from others. Many theories consider learning to be a combination of the two: Vygotsky’s theories reconcile the two approaches. Jean Piaget’s theories tend towards maturation and have been influential in education, though probably more so in the sciences than the arts. Through many years of observation, Piaget drew the conclusion that children establish a ‘framework’ within which they construct their vision of the world. As they experience something new, they try to explain it from the perspective of the framework (assimilation). Only if they cannot will their framework develop in some way(accommodation). Much of the experience Piaget considers should be self-generated and not instructional from teachers, parents or other authority figures. Piaget proposed four key stages of learning. For primary school teaching, the second and third stage are most relevant, covering the ages of around 2 to 7 (Pre-Operational) and around 7 to 11 (Concrete Operational) respectively. There is a lack of logic and a focus on the self in the Pre-operational stage, while in the Concrete operational stage, childr en are able to apply knowledge logically, manipulate information and understand the concept of others’ perceptions as well as their own. While Piaget’s theories are popular, many educators have reservations about them, particularly with regard to the specific age ranges linked to the stages. It is widely considered that such developments vary greatly in respect of age from child to child .Criticism of the Plowden Report has at times focused on its emphasis onPiagetian approaches (Gillard 2005). However, Piaget’s ideas are applied widely, including in music education, with its frequent focus on working together in ensembles (which helps develop understanding of others’ perspectives), or experimenting with the sounds that different classroom instruments can make (learning by experience). The behaviourist approach has lost favour in education: certainly in music, where it would be characterised by passive listening and instruction, it has been superceded by a more critical and analytical approach. Pavlov, famous for teaching dogs to salivate at the sound sofa bell, was a key figure in the development of behaviourist theory, and it has some place in musical education: for example, historical or cultural context of a piece of music is best explained by the teacher before pupils explore its musical qualities. Vygotsky’s theories, which suggest children learn by a combination of experience and instruction are perhaps more relevant to primary music education. Vygotsky took into account the social and cultural environment, particularly the influence of parents. He proposed that children’s development arose as a result of interactions with others. Vygotsky’s theories provide a link to theories regarding the learning of expression through the spoken word. A number of academic shave researched the area of music as a language which might be learned in a similar way to speech. In Barrett (1996), various research into the learning of oral language is explored to construct a framework in which successful learning of music might take place. Key to it is immersion: just as language is practiced all around the child, so too should music be, with parents demonstrating good practice as well as teachers. This parallels the Suzuki method of instrumental learning,where the parent learns alongside the child and reinforces at home what has been taught. Barrett endorses a method which leans towards maturation – â€Å"the learner is encouraged to assume responsibility for his own learning,with frequent opportunities provided for the continuous practice of skills† (Barrett 1996:72), with â€Å"the teacher available to assist when help is requested† (ibid). Yet there is also an element of behaviourism: â€Å"The experience of explaining, or teaching an item to another is often instrumental in clarifying the issues within the mind of the learner† (ibid: 69). In Mills’ exploration of the development of musical skills in the primary years (Mills 1996), a New Zealand study is discussed which supports Barrett’s theories. Through extensive fieldwork, Roger Bucktonfound that Polynesian children in New Zealand schools sung with moreconsistent vocal accuracy than those from European families. Millsattributes this to the difference in culture: â€Å"[Polynesian] children sing with their families and in church from anearly age. Children of European ethnic background†¦often arrive atschool with little background in singing.† (Mills 1996: 119) As will be seen, these various schools of thought have implications forboth the study of music and of other subjects, and hence forcross-curricular activity too. To consider music’s use across the curriculum, we must first consider its place as a subject in its own right. The National Curriculum addresses the following core areas: Performing skills: controlling sound through singing and playing Composing skills: creating and developing musical ideas Appraising skills: responding to and reviewing music Listening and applying knowledge and understanding. The scope of the National Curriculum for music is broad. By the end ofKey Stage 1, pupils are expected to reach a standard where they arecapable of organising sound, of using symbols to represent music, ofperforming with an awareness of others and of responding to the mood ofmusic. Beyond the practical, they are also expected to learn aboutvarious music from history and around the world – this provides auseful opportunity for cross-curricular work – and to understand thefunctions of music such as for dance, again offering cross-curricularopportunities. This kind of background knowledge continues to form a core part of thecurriculum at Key Stage 2, with the practical element further expandedthrough ICT, with the statutory requirement to â€Å"capture, change andcombine sounds†. Technological developments and greater affordabilitymean this is an area that has been practical to include in thecurriculum only in recent years, and for many teachers unfamiliar withmusic technology, this creates an additional challenge. However, it isagain a practical area to apply cross-curricular teaching in. At Key Stage 2, pupils are expected to develop a sense of musicalexpression along with more advanced ensemble skills. They should alsobe able to evaluate and suggest improvements to pieces of music by thetime they leave Primary School. This corresponds to a time when pupilsare developing their own tastes, influenced by a range of externalfactors such as family (particularly older siblings), or artistsspecifically marketed at ‘tweens’. An awareness of such subcultures canhelp the Primary school teacher to relate elements of the music lessonto them to create a particular resonance with pupils with suchinterests. A 2002 study by a team of researchers from Southampton Roehampton and Keele Universities carried out as part of the QCA’s (Qualifications andCurriculum Authority) Curriculum Development Project in the Arts andMusic Monitoring Programme produced some interesting findings(Hargreaves, Lamont, Marshall and Tarrant 2002). Many of the study’ssubjects were K S2 pupils. Across the study, which used interviews andquestionnaires to look at pupils’ and teachers’ attitudes to andengagement with school music teaching, children responded positively tothe performance aspect of the curriculum. Although many spent a gooddeal of time listening to music outside school (particularly popularmusic on the radio or on walkmans), little reference was made tolistening and appraising music in school music lessons, nor tocomposition. Given the government’s commitment to enabling every child to havethe opportunity to learn an instrument, it is perhaps surprising thatonly 17% of children thought this was something a school should offer,although the majority were learning or wanted to learn an instrument.While instrumental lessons may seem to offer limited scope forcross-curricular activities, and indeed may take up additional teachingtime, their indirect effect on other subjects is positive as thelearning of an instrument helps develop a range of skills includingco-ordination, concentration and self-expression. The Southampton/Keele study noted that a number of teachersexpressed concern over time and financial resources available toimplement a music programme. The time constraints suggest thatcombination of subjects through cross-curricular activity may be anattractive solution if managed appropriately. The study also showed that the use of external music specialists inPrimary music teaching was widespread and, furthermore, help fromspecialists was seen as vital to the success of the music curriculum.The aim that music teaching should be deliverable by non-specialistteachers is still not met entirely: â€Å"Technical demands of the curriculum are mentioned by many teachers:even those with musical qualifications and expertise feel unable tocover the entire spectrum of the music curriculum.† (Hargreaves,Lamont, Marshall and Tarrant 2002: Section 3) This is not expanded on. Teachers responded positively to theschemes of work, particularly as a tool for less musically-experiencedteachers, but it is possible that the breadth of the music curriculumis a challenge for teachers to deliver. The government’s increasedfocus on learning an instrument is likely to maintain this situation.It will be interesting to see whether, in future years, the generationof teachers that has benefited from the National Curriculum for Musicas pupils and who have had more opportunity for learning an instrumentthan previous generations of Primary teachers find it easier to deliverclassroom music lessons. The response from schools in the Southampton/Keele survey wasoverwhelmingly positive and it appears that the National Curriculum hasbrought classroom music teaching out of the margins by demonstratingthe many benefits of musical activity, notably those beyond musicalskills such as the social aspects and positive impact on behaviour andconcentration . In addition to focusing purely on music for a period within thetimetable, many teachers practise combining music teaching with othersubjects. This has roots in pre-National Curriculum teaching, wherelearning was frequently cross-curricular and based on a topic. Incertain situations, it appears that music is highly relevant in theteaching of another subject. This section explores the opportunitiesavailable and shows how there may be significant benefits for learningin all subjects in a cross-curricular lesson. Glover and Ward warn that there is a danger of attempting tocombine subjects in a way that has little benefit. They particularlydraw attention to themed songs which have no musical relevance: â€Å"In a topic on ‘food’†¦young children might be encouraged to sing ‘FoodGlorious Food’†¦ the links with the topic are spurious†¦the song may be apoor musical choice for a class who find difficulty with pitching thedemanding interval leaps.† (Glover and Ward 1998: 153-4) Glover and Ward also draw attention to the practice of linkingcomposition too closely to topic work, so that children are invited tocreate the sound of, for example weather, producing sound effectsrather than an appropriately-structured and thought-out piece of music(Glover and Ward 1998: 154). Bearing these points in mind, how can music teaching be productively combined with other subject areas? History lends itself to an exploration of music from other times. Astudy of the Tudors might incorporate a look at Tudor instruments andmusic, which provides further opportunities to consider Tudor life.Many pieces are dances, and pupils might participate in a dance of theera. Pupils can find out more about the function of the music, aboutwho would have been able to afford the instruments and who would haveplayed them. This might link with study of life for the wealthycontrasted with the majority of the population or of leisure pursuitsof the time. This helps reinforce what has been learnt about life inTudor times, while consideration of the stylistic qualities of themusic benefits musical understanding. Geography provides the chance to consider world music within its socialand cultural context rather than in isolation. Glover and Ward advocateexploring various musical styles from the same geographical area: â€Å"A little research goes a long way towards getting things intoperspective. Children will be interested in the detail and thedifferences between different music within a culture.† (Glover and Ward1998: 160) Through exploration of the elements which go to make a particularmusical style, children can learn about musical devices such as dronesor call-and-response structures. Simultaneously, by understanding therole of a type of music within a particular culture, they gain abroader understanding of different societies. Science lessons can provide a framework for the study of soundproduction. Through a focus on a range of instruments and othermaterials and their sonic properties (the production method of thesound, its qualities and pitch range, for example) causes pupils tofocus on the detail of sound. Composition activities linked toexperiments with sound production are enhanced: pupils consider thescope of their instruments in a broader range of musical parameters.Their scientific understanding of sound also benefits. Maths has particularly strong links with music, and various studieshave established a link between aptitude in maths and musical ability.Rhythm in music has a significant mathematical component: an obviousexample is the US note-naming system, where a crotchet is aquarter-note, a quaver an eighth-note and so on. Musical patterns offerthe opportunity to explore principles of symmetry, by playing a patternin its original form and in reverse. The inversion of a melody can belikened to reflection. A number of composers have incorporatedmathematical concepts into their music: many of these are rathercomplex for consideration at primary level, although the works ofXenakis may be useful for older Primary pupils. The construction of aparabola through a series of overlaid straight lines is visible in someof Xenakis’ scores, with lines performed as a string glissandi (slidesthrough pitch). Xenakis’ involvement with architecture, again using thescience of curves, may also be linked to lessons in this subject area.In addition to obvious connections with mathematics, Xenakis’ scoresare a useful example of how modern composers develop their own notationsystems and graphic scores, which may inspire children in compositionactivities. Literacy also has a close affiliation with music. The inflections inspeech are melodic and it has distinct rhythmic qualities. The settingof text to music draws on these connections. Explorations of languageand words – for example, rhyming words or short poem – can be takenfurther by turning them into chants or songs. A recent trend which underlines the links between language andmusic is the frequency with which children write a ‘rap’ rather than apoem. This could be taken further with a look at rap music payingattention to the dialect, fulfilling the requirement of the NationalCurriculum for English that children understand about language variety.However, any rap music should be selected with care due to subjectmatter and vocabulary in many rap tracks being unsuitable for use inschool. Narratives in literacy can also be explored through music, but itis important that children understand the concept of music without aprogramme and can link musical devices to punctuation: a cadence is afull stop, a musical phrase correlates with a spoken phrase (Glover andWard 1998: 166). The National Curriculum for Physical Education promotes the explorationof music through dance, and schools have a long tradition of music andmovement lessons. Dance and music together are included in thegovernment’s Schemes of Work: â€Å"Unit 31†¦In this unit children focus on popular dance styles ofdifferent eras. They explore a range of dances, using step and gesturepatterns, body shapes, contact work, and contrasts in dynamic andrhythmic patterning. They learn more about both dance style and music.†(Weblink: Schemes of Work: PE/dance) This unit has links to history and possibly geography too, so is truly cross-curricular. Response to music through movement is pertinent throughout our culture(the inclination to tap a foot to the beat, for example), and in youngchildren a physical response to music is common. Ben-Tovim and Boydinclude this as a criterion in a ‘Musicality Test’ to be applied whenconsidering whether a child should learn a musical instrument(Ben-Tovim and Boyd 1995: 18). Possibly the most difficult subject to establish effectivecross-curricular links in is art. While music and art can be seen asclosely connected, they both function in a similar role in terms ofproviding an outlet for self-expression through organisation ofelements, whether visual or aural. The temptation to play a piece ofmusic as an ‘inspiration’ for painting may result in the childinventing a programme for the music which is then represented in apicture. One must question the benefits of this regarding the verylimited extent to which it might benefit musical understanding, andalso its unintentional promotion of the idea that music must beprogrammatic. Also, is the music a background element compromising thechild’s concentration on the art, or vice versa? Overall, there is a wide range of opportunity to combine music withother subjects to the benefit of both curriculum areas concerned. Thepractical applications discussed above also fulfil a balanced model ofinstructional teaching and self-discovery: for example, the teacherpresents a recording of music from another era or land, and providesbackground information, but the pupils are encouraged to explore itscharacteristics for themselves. This promotes a blend of thebehaviourist and maturation theories discussed earlier. The opportunities for mutual support between subjects throughcross-curricular teaching demonstrates the importance of classroomteachers having adequate support and training to incorporate music intoother lessons; it is even more relevant in cross-curricular teachingthan in music lessons. By ensuring this is the case, benefits may beseen across almost all curriculum subjects. In addition to combining music with other subjects in order to teach itdirectly, music has further applications in the curriculum. The connections between language and music have a further benefit thatcan be utilised across various subjects. Text set to music is moreeasily committed to memory, and the use of songs to learn key facts iswidespread – for example, to learn numbers or the alphabet.Number-learning by song is effective, as one SEN teacher using singingin Maths comments: â€Å"Even if pupils don’t understand the concept of numbers, they can sing up to 10†, (Maynard 2004) Colwell’s research with Kindergarten children in the US (Colwell 1994)demonstrated that when children practised a reading text set to music,they read it with greater accuracy than a group who had practised thetext without its musical setting. However, although this researchsupports the findings of previous experiments, it used a sample of only27 subjects. Research undertaken by Dr Frances Rauscher, a former professional’cellist with a Ph.D. in Psychology, and her colleagues suggested alink between playing music to a group of subjects and a simultaneousincrease in their spatial-temporal reasoning abilities (Rauscher, Shawand Ky 1993). Since then, further research has been undertaken whichboth supports and questions these results. A further study in 1997 on preschool children showed a 34% increasein spatial-temporal reasoning tests among children who had receivedprivate piano and singing lessons compared to those who had not –including a group who had received private computer lessons. Theconclusion drawn by the researchers was that learning music was ofbenefit to learning potential in maths and science subjects, and moreso than computer skills. This research raises many questions. Firstly, it is widely thoughtthat the ideal age to begin learning an instrument is no younger than 7: â€Å"the second most common factor in musical failure was starting at thewrong time – too early†¦a six year old who goes on and on about wantingto play a musical instrument is experiencing the promptings of hisdeveloping instinct to make music, but he is not yet ready to do muchabout it.† (Ben-Tovim and Boyd 1995: 20) . It is therefore somewhat surprising that very young children engagedwith their music lessons in a way that increased their more generalmental capabilities. This has clear implications for the government’sMusic Manifesto; could earlier instrumental learning have a greaterbenefit in other subjects? The second issue is the findings themselves: as the computerlessons had little impact on test results while the music lessons madea significant difference, it is clear that private teaching alone isnot the cause of the improvement; rather it is the learning of music.However, it does not necessarily follow that by simply listening tomusic, a child’s academic potential in mathematics or any other subjectis enhanced. Rauscher’s research has created a great deal of interest bothwithin more general media and among psychologists and other academics.It has, to some extent, been mythologised with the label â€Å"The MozartEffect†. Rauscher’s findings have been disputed by a number of academics.Heath and Bangerter (2004) argue that the original 1993 research, oncollege students, showed only a small effect which was not prolonged,and that a number of research projects have failed to replicate theresults. They also demonstrated a link between the level of attainmenti n various states in the US and the amount of local newspaper coveragepromoting the Mozart Effect: the lower the attainment, the morecoverage. Heath and Bangerter attributed this to the recognition of aparticular problem and the possibility of a ‘quick fix’. In a number ofstates local government reflected media endorsement by subsidisingprojects to expose children to Mozart recordings, but it appears therestill needs to be more research in the area Rauscher herself has moved to clarify her research: â€Å"Our results on the effects of listening to Mozarts Sonata for TwoPianos in D Major K. 448 on spatial-temporal task performance, havegenerated much interest but several misconceptions†¦ the most common ofthese [is] that listening to Mozart enhances intelligence. We made nosuch claim. The effect is limited to spatial-temporal tasks involvingmental imagery and temporal ordering.† (Rauscher 1999) However, a number of studies have shown some evidence of a Mozarteffect in various different environments. Most relevant is Ivanov andGeake (2003) which found a Mozart Effect and a Bach Effect on Primaryschool children listening to music while undertaking a paper-foldingtask (again, this is demonstrating spatial-temporal competence ratherthan intelligence). This study also established that general musictraining was not a factor in the results – this suggests that playingmusic has a temporary effect on reasoning, and might not enhancelearning in other subjects subsequently unless music is played on thatoccasion. The Mozart Effect continues to be debated by academics because ofthe conflicting research findings. However, it is notable that limitedresearch has been done on the elements of music which might contributeto the effect, although reference to an unspecified study by Dr WilliamThompson (Weblink: Research relating to the ‘Mozart Effect’ (2)) notesthat the effect is evident when lively classical music, includingMozart and Schubert, is played, but not with slower music by Albinoni. Many teachers report using background music in a variety of situations with positive results: â€Å"For many years I have used music during lessons. It helps youngchildren relax in handwriting lessons, and helps their concentrationduring imaginative writing sessions.† (Hume 2004) It appears that there is certainly some evidence supporting playinglively classical music in a variety of class situations to boostpupils’ performance, and a number of teachers are using backgroundmusic in class and feel it to be beneficial. However, much research isstill needed in this area. Music teaching has a variety of uses within the curriculum for pupilswith special educational needs (SEN). The term SEN is used to refer topupils with special needs arising from a wide range of situations andconditions such as physical disability, emotional and behaviouralproblems, autism, school phobia, a background of abuse or stress ordyslexia. Many of these children may be academically gifted, others mayfind very basic concepts challenging. Music in SEN, as a result,fulfils a range of functions. For all SEN music lessons, there is the potential to cover areasincluded in the National Curriculum: listening and appraising,composing and performing. The nature of SEN teaching means that thesemay have to be adapted according to the needs of pupils. Cross-curricular activity can be useful tool: for example, whilepupils with concentration problems may struggle to sit and listen tomusic, they may be more receptive if asked to draw a picture respondingto music that is playing while they do so, although there can be adifficulty with children focusing on their art and barely noticing themusic. Perry (1995: 56) suggests using a 5 minute excerpt introducedwith a story – thus using literacy – to create an initial engagementbefore moving on to children drawing. Music may also be used as a form of therapy. For younger children,activities undertaken while standing in a circle are of particularbenefit in helping child a child with attention difficulties to engage.An activity might involve passing a teddy around a circle while musicplays until it stops, at which point the child holding the teddy has achance to play briefly on an instrument. The teddy helps those childrenwho might be resistant to the activity to accept it (Weblinks: Becta). For autistic children, music can contribute to establishing aroutine. With songs, for example, for lunchtime, for playtime and forgoing-home time, where the same piece of music is used consistently forthe same activity, singing can help maintain the sense of stability androutine which is particularly important for those with autism (Maynard2004). While musical activities can benefit children with specialeducational needs, care must also be taken not to cause a detrimentaleffect. Packe

Real World Examples Of Price Ceiling Economics Essay

Real World Examples Of Price Ceiling Economics Essay The President of the Philippines, Arroyo placed the entire nation under a state of calamity on 2 October 2009 which is a week after tropical storm Ondoy, and a day before super typhoon Pepeng began. The onslaught of typhoons Ondoy and Pepeng smashed up many parts of Philippines, caused over P30billion in damage and claimed nearly a thousand lives, primarily Metro Manila and north Luzon provinces. Despite devastation of typhoons, several oil companies raised oil prices which prompted public protests and criticisms and set off more than the common grumbling from consumers. With millions of Filipinos still suffering from the effects of those typhoons, the corporations were criticized as greedy, heartless and predatory. Royal Dutch Shell, Petron and Chevron (known here under the brand Caltex) increased the prices of diesel by 2pesos per-liter , or 4 cents, an increase of about 6.7 percent. Gasoline prices went up 1.25 pesos a liter, or 4.74 pesos a gallon, and kerosene by 1.50 pesos. Acc ording to the Ibon Foundation, an independent economic research group, the increases were the biggest of the year. The companies insist the increases reflect world oil prices. After Ondoy and typhoon Pepeng have left the country for some time, the entry of new typhoon Ramil make the imposition of price ceiling more necessary. To protect public interest, the government enforced a fuel price ceiling to prevent predatory pricing, unreasonable pricing and to lessen the adversities caused by those calamities by temporarily imposing price ceiling on oil. The president, through the EO, ordered the joint Department of Justice (DOE) task force to institute complaints against the violators of the EO as well as the provisions of RA 8479. President Arroyo revoked Executive Order 839 on the Philippines main island of Luzon, which kept the level of the price of petroleum products prevailing on 15 October 2009. The announcement was made after she met with Cabinet secretaries and representatives from the oil firms and transport sectors. Before the EO was issued, the President ordered a study of how to include petroleum products under price control, considering that fuel is an important product used by almost all consumers. Before revoking the edict, Arroyo sought petroleum companies assurance that they would continue to provide fuel discounts to transport groups for the next six months to keep fares down. Arroyo also proposed that dealers of liquefied petroleum gas (LPG) can stagger their price over the Christmas season so consumers wont too harshly affect by increasing price. The Palace further pointed out it was based on the EO is Section 14 (e) of Republic Act 8479 or the Oil Industry Deregulation Law, which states that: In times of national emergency, when the public interest so requires, the DOE may, during the emergency and under reasonable terms prescribed by it, temporarily take over or direct the operation of any person or entity engaged in the industry.The EO took effect immediately upon its publication in a newspaper the next day. Reaction Many consumers and few companies praised the presidents decision because the imposition could help millions of Filipinos recover from those calamities moreover the changes in price when price ceiling was imposed was an insensitive move to the oil companies. Economists said the unprecedented interference could scare investors away from the country. The Joint Foreign Chambers, a collection of chambers of commerce whose members include major oil firms, argued in their letter that a price cap in the northern Philippines would lead to lower fuel imports, shortages and a black market. The order has prompted oil companies to warn of a shortage since they may be forced to sell their products at a loss if global fuel costs rise. It is because the oil prices are tied to world markets and the companies would think twice about importing more oil. Petron Corp., the Philippines largest oil company predicted that it may lose up to P1.5 billion pesos, or $32 million, in its fourth quarter for the last three months of the year since the executive order may force it to sell at a loss. Some people compelled the government to increase the price freezes nationwide especially because the price of oil in the Visayas and Mindanao ,which are the two other main island, are 5 to 7 pesos more expensive than price in Luzon. The companies have insisted that their prices are determined by the world market and did not prosecute for predatory pricing. However, because of the increasing of price all at once and the companies refused to open their books, suspicion has grown among the public. To comply with EO 839, oil firms reverted to prices before 19 October 2009. Most oil firms raised prices by P2.00 per liter for diesel, P0.85 per liter for regular, P1.50 per liter for kerosene and P1.25-1.50 per liter for fuel. Consequences MAP said that with the imposition of the order, the government is breaking its promise to provide oil investors stability and protection under the law and the government should subsidize the products. On 2 November 2009, foreign and local businessmen demanded the termination of President Arroyos Executive Order 839, to lessen the adverse influence of loses on the petroleum, risk of future stock products, and hindrance to future and appearance of black market. In a statement, the Joint Foreign Chambers (JFC) said oil supply in Luzon, which accounts for 80 percent of the countrys petroleum market, will be reduced because importers will not sell at a loss. EO 389 will not really help the most needy of typhoon victims. It is because the poorest income groups are not consumers of petroleum products. This happens because the government is not clear what products they usually purchased and then imposed price ceiling on oil that provide low reconstruction and rehabilitation. Reports on fuel supply shortage coupled with spiking fuel prices brought fears to Cebuano consumers that these might create a negative impact towards the prices of other commodities. However, the price monitoring report of the Department of Trade and Industry showed that prices of goods in the market have not posted alarming changes because of the fuel supply shortage. Oil firms warned that more serious fuel supply shortage in less than two weeks from 11 November 2009 if the freeze on petroleum prices stays.13 days after that day they would run out of finished product stock. The big oil firms did not face any real financial difficulties or bankruptcy as they have over a decade of overpricing and accumulated super profits. How to settle the problem Government responded that the DOE and the oil companies must open their books and show the public that all the negative things attributed to them are just misperceptions because even though the price of crude has gone up to $80, the increase should not be affected immediately at least not until after 45 days. On 4 November 2009, Deputy presidential spokesperson Lorelei Fajardo said the price freeze would remain in effect for the duration of the state of calamity in Luzon based on the recommendation of Justice Secretary Agnes Devanadera. This was emphasized by deputy presidential spokesman Lorelei Fajardo on 2 November 2009 after the Joint Foreign Chambers (JFC) asked the termination date of Executive Order 839.However price caps can only be imposed for a maximum 60 days ,the imposition will be lifted sooner or later. The government opened to selective implementation of the oil price freeze after weeks of protests and warnings of a fuel supply crisis. Petron has agreed to open its books and the government hoped that the rest of the industry, especially the Big 3, would also be this transparent. Meanwhile, Malacaà ±ang said that the Energy Regulatory Commission (ERC) and the Dept. of Energy (DOE) will study proposals about price freezing as the ERC and DOE are in the best position to determine the merits of this proposal because they are aware of the factors involved in the incident. President Arroyo announced her decision on13 November 2009 at the end of an emergency meeting at Malacaà ±ang with representatives of oil companies as well as officials of labor and transport and ordered the lifting of the price freeze on petroleum products and basic commodities in Luzon, which was still officially under a state of calamity, effective on 15 November 2009.This decision was made after making oil firms and traders promise to recoup their losses on a staggered basis, stabilize prices and supply of products ,put in more investments for the poor to spur economic activity and create jobs and provide some form of subsidy or discount in selected areas, especially those affected by the calamities. The bottom line is to remain the same in the next six months, assuming that world markets remain stable. If international pump prices become very high, then the government can review this policy. Most of the corporations committed to hold the price for at least six months. It was agreed during the meeting that details of the price adjustments and subsidies would be finalized over the weekend. The DOE (Department of Energy) and the oil firms are given the weekend to go back to the drawing board and make their calculation or formula (on the price increase). Mrs. Arroyo also instructed Favila and Energy Secretary Angelo Reyes to help transport groups set up a consortium that would allow them to directly import fuel. Favila said the National Development Corp. and the Philippine International Trading Corp., both government corporations, will help put up capital for the venture. The oil companies welcomed the move and have agreed not to increase their prices on a one-time basis. Earlier estimates showed that consumers may have to bear P4.50 to P5 per liter increase in pump prices once the EO is lifted. As to how much the first increase in price on 15 November 2009 depended on competitive forces. According to Martinez, the P1-billion fund which was earlier set aside by the government to assist the transport group in conversion to LPG may also be tapped to help cushion the impact of the expected surge in oil prices in the next few weeks. Martinez suggested that assistance or subsidy could come in the form of discount coupons for legitimate transport groups. The oil firms as well as manufacturers and traders agreed to his proposal to reduce prices in areas that continue to suffer from the effects of the storms. On 16 November 2009,President Gloria Macapagal Arroyo said that the government will not hesitate to re-impose the freeze on fuel prices in Luzon if oil companies will renege on their promise to stagger increases in the prices of their products. The oil companies, manufacturers and traders are fully aware that the government can again impose price controls. Drugs price control in Canada Government in Canada have imposed price controls on prescription medicine for many years for its citizens .Through this intention ,the affordable of Canadian citizens in purchasing the necessary drugs they need can be ensured .To achieve the efficiency in drug prices control ,several mechanisms have been instituted to control drug prices .These includes the establishment of a semi judicial by the federal government to control drug prices and several measurements to regulate the drug prices at the provincial level ,for instance ,formulary management ,use of generics ,reference-based pricing ,price control of patented medicine ,price freezes ,reimbursement rates ,cost sharing arrangements and limits on markups .These measurement have make effectiveness price control to a large range . Patented Medicines Prices Review Board (PMPRM) ,a federal quasi- judicial agency established under the Patent Act in 1987 to regulate drug prices .This agency take responsibility to control price of patented medicines only .The PMPRM was intended to avoid and prevent the prices of patented drug reach excessive which might result from manufactures new right to market exclusivity .Hence ,certain guidelines are used by PMPRB in determining the excessiveness of a drug price : The cost of therapy of new patented drugs must make sure not exceed the highest cost of therapy and in the range of existing drugs used to treat the same disease . Manufactures can charge the breakthrough drugs and those that offer a substantial improvement to the median of prices charges of the same drug in other specified countries which are United State ,United Kingdom ,Switzerland ,Sweden ,Italy ,France and Germany to ensuring that Canadian prices are not highest in the world . The increases of prices of existing patented drug cannot exceed the Consumer Price Index . The PMPRB gains control over the pricing of the drug once the drug accepts a patent of any sort and also review the drugs price when it was initially marketed . A company that consider out of compliance with the guidelines by the PMPRB must reduce the price .Moreover ,any excess revenue that have earned by that company from sales of the drugs will be relinquished and can order the repayment of the excess revenue of the company to the federal government . Purpose Federal price controls on patented drugs is to avoid brand-name companies from reducing prices on these products once a patent expires .The highest price of the exisying drugs in the same therapeutic class is take as a reference by Canadas Price-Control Policy .This is done to establish the maximum allowable for new patent-protected drug formulations entering the market .As a result ,due to fearness of makers of brand-name drugs of unintentionally lowering the maximum allowable entry price for new drugs in the same class ,the makers of brand-name drugs will reluctantly reduce the price of the original drug when it goes off-patent .An artificial incentive is created by Canadian price controls to resist competing for brand-name companies on the basis of price with generic firms for sales of off-patent drugs . Consequences of Drug Prices Control Although government of Canada have imposed drug price control system to ensure the prices of drugs are under control ,however ,cannot deny that ,the drug price control system also result in consequences . Price- controlled system of Canadian bureaucracy indirectly lead to decrease in producing fewer new drugs Canadians are often forced to wait to a year for more advanced medicines .As a result ,Canadians are routinely denied access to newer and better medicines ,and often travel to America to purchase them . Moreover,price discrimination is one of the consequences of drug price control .Drug companies and industry often engaging in price discrimination by charging the different buyers for different prices of the same product .Drug companies are prefer to sell the drugs for less in Canada and elsewhere only .This phenomena is happen due to the drug companies can sell for more in the United States. In addition ,the expensive development of drugs and moderately cheap to manufacture will indirectly lead to price discrimination works in the drug industry .Price discrimination causes drug companies in Canada to charge high prices of the same product of drugs in United States. Hence, companies can recoup their research development costs .Besides that, companies can make a profit in Canada and elsewhere by simply covering the cost of making the pill as long as the research development cost of companies can recoup. Further ,price controls make investing in research development less attractive .This is the result of the continuing of rising in costs and risks involved in developing new drugs .With extra risks and uncertainties ,companies never being sure of the selling prices of their future drugs and even find themselves having to reimburse sizable sums . For example, Schering Canada Inc. had to reimburse $7.8 million in 2003 because it charged a price judged as excessive for its infliximab (Remicade) drug. Price control causes a direct reduction in volume .Due to this ,a declining number of research development missions are obtaining by Canadian subsidiaries .As a result ,pharmaceutical innovation is indirectly become slower ,and lead to a remarkable drop in pharmaceutical research development .A decline of pharmaceutical research in Canada would hit Quebec hardest ,which is the home to Canadas largest concentration of pharmaceutical research development ,with 42.3% of total spending in2002.However there other major costs linked to drug price controls ,these include losses of highly skilled jobs ,corporate research centers and jobs forgone in the subcontracting of goods and services and in industries associated with research development . Downward pressure on the prices of older patented drugs and non-patented drugs since distortions caused by price controls would cease to exist . Pharmaceutical firms eliminate incentives to lower the prices of drugs already on the market is result from price control .As a consequence ,some generic drugs are more expensive in Canada .In order to fully recovery of research development ,launch and marketing costs ,companies tend to keep these prices higher .This condition will also lead to a higher selling prices of the goods by generic drug producers . Last but not least ,drug price control will lead to lower rates of substitution of generic versions of drugs by consumers in Canada for their brand name originals drugs .The possibility of price competition between off-patent ,brand-name drugs and generics altogether is eliminated by the public policies forcing substitution of generics .Generic companies no longer have to compete on price against consumer loyalties toward brand-name drugs when forcing generic substitution for brand-name drugs is done by government .As a result ,consumer need to purchase the drug at higher price due to the absence of alternative products .