Western designer with an Eastern touch Essay Example for Free

Western designer with an Eastern touch Essay Designer Vivienne Tam has received quite a multicultural upbringing as she was born in Canton, brought up in Hong Kong, and eventually settled in New York. She has made a name in the fashion world by being innovative, and having her own distinctive style. I want to design harmonious and beautiful clothing that enhances ones personality, she says. Vivienne first became famous with her signature collection of Eastern inspired clothing with a modern edge on the New York stage in 1994. After that, East-meets-West style became her trademark and distinctive feature. Pieces of her now classic Buddha collection of 1997 ultimately became part of the permanent archives of the Andy Warhol Museum in Pittsburgh, The Museum of FIT and the Metropolitan Museum of Art in New York, and the Victoria and Albert Museum in London. Tams designs that have been described as simple but at the same time unique in their combination of East and West, traditional and modern have attracted the attention of celebrities including Julia Roberts, Goldie Hawn, Madonna, and Britney Spears. At the moment, Tam owns boutiques in New York, Tokyo, Hong Kong, and Kobe, Japan. In November, 2004, Vivienne Tam opened her second freestanding store in Xian Tian Di in Shanghai, China, and her ninth store in Hong Kong, located at The Peninsula Hotel in Kowloon. One of her recent successes is a partnership with The Mandarin Oriental Hotel Group where she is a brand ambassador. Her works will be featured in an advertising campaign to break in spring of 2005 in nationally distributed U. S. publications. Vivienne herself described her style in her book â€Å"China Chic† where she dwells on different aspects of Orientalism including fashion, food, art, architecture and home decor. She describes in the book in detail her own crosscultural style that unites Western and Eastern elements. Vivienne Tam describes the Chinese style that is native to he rand teaches readers to appreciate the Chinese design and assess the beauty of her favorite Ming chair. Vivienne Tam’s style has always been characterized by distinct feature of Orientalism, or something that is perceived by the predominantly Western public assessing her creations as oriental. Most critics describe her style as eclectic, that is, combining the elements of the â€Å"Oriental† and â€Å"Occidental†. Her clothing are carrying the trends similar to the folk Chinese costumes, such as the glistening fabrics and loose cut while remaining attached to the spirit of New York City’ s cultural life. Said’s Orientalism and Barthes’ â€Å"signifier† Thus, Vivienne Tam’s fashionable art can be linked to the concept of Orientalism described in Edward Said’s famous work â€Å"Orientalism†. Said himself, being of Palestinian descent, had a â€Å"cross-cultural† background. Said defined Orientalism as a â€Å"way of coming to terms with the Orient that is based on the Orients special place in European Western Experience† (Said 1979). Said insisted on the Orientalism being a cultural concept that is conditioned by the existence â€Å"cultural contestant† to the European Occident, and a recurring image of the â€Å"Other†. The Orient is thus an elusive notion that is merely a product of the European imagination and is utilized to help the Occidentals to conceptualize themselves in contrast to the Oriental tradition. Said describes Orientalism as a ‘style of thought based on an ontological and epistemological distinction’† between the Orient and the Occident† (Yang). Said insisted that Orientalism is a notion that was artificially created by the artistice circles of the West who were unable to grasp the crude reality of Eastern life and conjured up for themselves a sweetened â€Å"Orient†. He wrote in his work: â€Å"By virtue of the fact that the poet, scholar, and politician speaks for, or writes about the Orient indicates the Orient is absent, and that the Orientalist is outside the orient†¦ Poets make the Orient speak, and renders its mysteries plain to the West. † (Say-Saue 2001). Thus Said sees Orientalism as a kind of representation of the Orient by the Orientalists, found in the so-called truthful texts, such as history, journals, or, in other words, as cultural stereotype other opposite to the Occident (Yang). In Orientalism Said described this notion as it surfaces in the works of the European writers trying to provide an account of Eastern realia. Said connected the orientalist approach with the European culture that tried to control its relations with the Eastern subordinate states. He denoted the Western tradition of Orientalism as corporate institution for dealing with the Orient dealing with it by making statements about it, authoring views of it, describing it, by teaching it, settling it, ruling over it: in short . . . a Western style for dominating, restructuring, and having authority over the Orient (Edward Said). Thus, the tool of the Orientalism was utilised by the West in order to subjugate and oppress the East. The ideas present in Said’s works show that the application of Orientalism to the description of an obscure phenomenon was similar to the idea of a â€Å"signifier† used by Bathes. In the sense used by Roland Bathes’s theory of semiotics, â€Å"signifier:† is in some ways a substitute. For example, words, both oral and written, are signifiers, later exchanged by the brain for a working definition. The difference between the word â€Å"tree† and the substance which the brain substitutes for the input tree lies in the fact that you can make something out of the entity that is symbolized by the word, but you cannot use the word itself in construction. The signifier is therefore a kind of icon (Rowland Barthes Theories). Interesting in this respect is the idea of myth utilised by Roland Bathes which he determines

Distracted driving Essay Example for Free

Distracted driving Essay Introduction – Distracted driving is a growing and dangerous problem in today’s society that can lead to accidents causing injury and even death. Risk factors with distracted driving: Talking on a cell phone while driving Younger, inexperienced drivers under the age of 20 may be at increased risk; they have the highest proportion of distraction-related fatal crashes. There are three main types of distraction:  ·Visual: taking your eyes off the road;  ·Manual: taking your hands off the wheel; and  ·Cognitive: taking your mind off of driving. Statistics on distracted driving: 69% of drivers in the United States ages 18-64 reported that they had talked on their cell phone while driving within the 30 days before they were surveyed. In Europe, this percentage ranged from 21% in the United Kingdom to 59% in Portugal. Conclusion Mobile phones have immense public utility, improving communication in social and commercial interactions. Nonetheless, their role in driver distraction and consequently in road traffic crashes means that some measure of â€Å"reining in† their use while driving is required. References National Highway Traffic Safety Administration. Facts and Statistics. Available from http://www.distraction.gov/content/get-the-facts/facts-and-statistics.html. Accessed October 9, 2014 National Highway Traffic Safety Administration, April 2013. Publication no. DOT HS 811 737. Available from http://www-nrd.nhtsa.dot.gov/Pubs/811737.pdf. Accessed October 9, 2014. Centers for Disease Control and Prevention. Mobile Device Use While Driving — United States and Seven European Countries, 2011. MMWR 2013 / 62(10);177-182. Olsen EO, Shults RA, Eaton DK. Texting while driving and other risky motor vehicle behaviors among US high school students. Pediatrics. 2013;131(6):e1708-e1715. Federal Railroad Administration. Restrictions on Railroad Operating Employees’ Use of Cellular Telephones and Other Electronic Devices. Washington, DC. US Department of Transportation, Federal Railroad Administration, 2011.

Teachers role in Facilitating Learning

Teachers role in Facilitating Learning To fully understand, appreciate and reflect on this title, I will have to study three, very different, yet at the same time inherently linked facets of the education spectrum. Firstly, the role of the teacher will have to be explored and the functions and responsibilities this position entails. Are teachers just lecturing child-minders, or are they fundamental, not only to a childs learning in school, but to their social and moral development and education? Secondly, what children learn, how children learn, and how we, as educators, learn with them, are crucial aspects which cannot be ignored. And thirdly, I will refer to the aforementioned areas of teaching within the context of key stage 3 and 4 English. The precise role of the teacher varies, but educator and role-model are two essential parts. Teachers have a responsibility and a moral duty (and are legally contracted), to assist the development of a pupils learning throughout their school life, whether they are in a lesson or during any other scholastic situation. Teachers and pupils have to co-exist, live and work within the confines of a school, and the reasons why many children just cannot cope with this set-up are many. To minimize these potential problems, the teacher therefore has to cater for every pupils different needs, (race, gender, SEN etc). A teacher can do this by researching particular pupils asking previous teachers, seeing SAT scores and literacy and numeracy levels. Consulting the Senco can be beneficial if there are concerns over teaching somebody with special educational needs. Understanding and accepting pupils differences, whether they are educational, religious or cultural have to be, not tackled, but worked through with all parties present. A working relationship has to develop where the teacher can initiate and then assist learning and the pupil can respond in their own way. Knowing the pupils individually is of vital importance in knocking down walls and building bridges. The pupils knowing the teacher and the teache rs consistencies of discipline, standards and expectations, can benefit the two-way relationship. Both parties know each others likes, dislikes and boundaries etc. Children are constantly underestimated, they frequently gauge and assess the teacher, acting and reacting in different situations with different teachers, so its important to assert yourself and get that relationship right. This is a key target for me; because I worked as a teaching assistant at The Woodroffe, I had to create a formality between myself and a few of the pupils, whereas before it was beneficial to have a more relaxed approach to get the job done. In English, the teacher has several key tasks which help children to get the most out of the subject: giving the pupils confidence to try when reading and when writing and to give them the relevant skills. Encouraging them to share opinions and interact with their peers through discussion speaking and listening. Introduce literature and language variation. Help them to understand the authors craft reading for meaning. They should be given access to our literary heritage and texts from different cultures and traditions. Recognise where a pupil may benefit from drama and ICT related lessons and then differentiate accordingly. Teachers should consolidate this information with media topics and theories to expand knowledge and understanding. The ability to fuse these areas is a teachers aim. The teacher constantly has to push the boundaries, challenge the pupils to get them out of their comfort-zone. There is an element of risk involved for the teacher in attempting a balanced but chall enging lesson. There is also risk for many pupils in different ways: Some of us are risk tolerant and some of us are risk averse with all points equally represented. If you are in a learning situation and anxiety tips into stress, then what happens next is predictable. There are four categories of survival response available to you. A teacher or anyone is involved in formally educating others will be familiar with them. They are fight, flight, freeze and flock. You show resistance or fight the source of stress, you flee from it, you freeze in the face of it or you hang out with others like you or flock from it. If you have an accumulation of stressors that leave you feeling out of control, then the four Fs are what is left for you.  [1]   The teacher regularly reviews the boundaries to reduce the usage of these defence mechanisms. These four Fs are prevalent in English where in ascertaining whether the students have understood, the teacher will direct questions to random pupils, which in their eyes might be thought of as picking on. Speaking and listening tasks can offer problems to some students who may be good in other areas and some pupils respond by using one of these defence mechanisms because they lack the basic skills needed. What the teacher can do to alleviate this problem is to fore-warn the class that questions will be asked, nominate a table, group or pairs for an answer and say what type of questions you are going to ask, building up from easy questions to harder questions. A quieter student could be asked before the lesson if they felt okay with answering a question/performing a poem etc. A certain degree of sensitivity and common sense is needed when considering this question. Because English is such a varied subject that encompasses many different teaching and learning styles, it can be difficult to teach and consider the different and necessary approaches. Key stage 3 can be problematic at The Woodroffe as the classes are of mixed ability with a vast range of skills and needs. Key stage 4 are put into sets which, although can help with differentiation, means the need to further challenge pupils becomes more apparent. Pupils know every trick in the book, every survival technique that will help them to stay alive in the jungle that is their classroom. The teacher has to remain one step ahead of them, using their motivational techniques along with a good lesson, to keep the class participating. Knowing each pupil and their needs is of vital importance to the teacher. The balance of praise and criticism in teaching is an ongoing debate and an issue of common sense. Educational psychologists, writers, theorists, parents and teachers have all added their ideas to the following questions: Is it three ticks to one cross? Do you give out fewer ticks as the pupils get older? Do you mark in green or red pen? These are just some of the basic questions that are trying to be answered. At my school there is an Assessment For Learning initiative set up where a group of teachers have volunteered to try many of these schemes. They meet up quarterly to share results. From attending one of these meetings and by witnessing them in class, I am now aiming to use one or two of the ideas in my lessons. For instance, the question of how to mark effectively: Within this context it is very difficult to state what type of marking is needed and where. One possible rule offered is that you dont highlight every spelling mistake, especially for the lower ability groups. This issue splits teachers. As previously mentioned, I feel that this is an issue of common sense depending on the context of the situation. There is also the question of summative vs. formative marking, but does there have to be verses, they can co-exist together. Sometimes a comment is more beneficial to the student than a grade. Some students may prefer to see a mark or grade so that they can easily see improvement. There is ongoing research into this area. Choosing which type of marking to use is a matter for each individual teacher and their individual students. Again, it is your knowledge of the pupils as individuals, building on your expectations for them, what they are achieving and what they should be achieving and getting the pupil to recognise these expectations. Just as two pupils are never the same, the marking, comments and grades reflect this. Teachers have to regulate and differentiate and only by knowing the pupils, (SEN, background, social problems etc) will this occur. I have realised that some pupils benefit from formative marking and that some crave a grade or number so that they see if they are progressing. It appears to me that higher ability students like to see the grades. I was asked recently by a higher ability year 12 student to give a grade for a piece of homework where I had just put a constructive comment. Putting crosses in red, underlining incorrect spelling and putting see me! at the end of the work, are all methods which we are familiar with, but how many teachers actually appreciate and celebrate pupils work? At every level pupils like to see their work appreciated by the teacher and the class. They like to know that they understood the question or showed a great deal of effort. They like to be rewarded appropriately and consistently. For some pupils just to finish a piece of work is a cause for celebration. This celebration should be differentiated by the teacher in accordance with individual expectations. Linked with praise and criticism is target-setting. A current theme in schools is for the student and teacher to work together to set the pupils targets for the term/year etc. The theory behind this idea is to involve the pupil as much as possible so they can create manageable targets. Also, they are more likely to resist completely if a teacher were to set their targets and force-feed them to the student. In English, setting targets, no matter how small and achieving them is the basis for progression in learning. Targets could include spelling certain words, taking part more in class discussions, not calling out or handwriting. Again, this target setting is heavily differentiated and that is why I feel it is a good idea to involve the student, they know probably better than the teacher where they need to improve. I have worked with students and other teachers setting literacy targets and behavioural targets in other schools and at The Woodroffe. We adjusted the targets by looking at levels and listening to comments from other teachers, not just in English. This idea attempts to motivate students by shifting the responsibility, from the teacher to the pupil, involving them more in their learning. This is just one facet of an interactive movement within education today; self-marking and self-evaluation are important tools in the classroom for all key stages. Just recently I asked a year 10 group to mark their own work as if they were a teacher. The comments and grades that I were shown were very interesting, the amount of constructive reflection was very surprising. This allows the students to see their work from a teachers perspective what they will be marked on and how the teacher allocates marks for spelling and handwriting, for example. The idea is to create reflective pupils. Pupil responsibility is the current catchphrase, although some students understand the reasoning behind the idea more than others. In my year 9 lessons, preparing for their SATS, I ma ke very explicit what they will be marked on for each type of question. They are given the mark scheme to mark their own mock papers. This seems to help them a great deal and they are beginning to realise that teachers dont just give a random grade with could do better on the bottom. A teacher has to consider the use of the different learning styles: visual, auditory and kinaesthetic. Visual learners like to see what they learn, auditory learners like to hear what they learn and kinaesthetic learners like to be physically involved in what they learn. They should be used together and this cross-over is of vital importance in an inclusive learning environment. In English, skills are needed that incorporate different styles of teaching (reading, writing, watching, speaking, listening, performing). When planning, teachers have to accommodate all the methods to make sure they appeal to all the different types of learners in their class. Across both key stages I have aimed to deliver a varied programme within the lesson; when I am explaining something I try to express it clearly and concisely, have what I am saying on the board, sometimes with a picture and by giving out helpful handouts. By demonstrating something as I am explaining it, especially in drama and speakin g and listening, helps to address all the different types of learners. Also, I prefer to set work involving a mixture doing tasks, reading tasks, written tasks, whilst incorporating drama and ICT. Flexibility within a lesson structure is a key theme. Recognising where to be flexible is a trait of a good teacher: (Is this too easy for them shall I move on to something more challenging? Did they get all that shall I go over it again?) Because of the wide range of topics in English, a well-structured lesson should be planned, although digression in a lesson, especially when instigated by a pupils question, can be beneficial to develop. It is beneficial if a teacher is enthusiastic and is able to enthuse students. This enthusiasm should be considered a valuable resource, just like the teachers subject knowledge. The knowledge of, understanding and using resources are essential for enhancing the learning experience. Resources can be varied and obviously differ between subjects, classrooms and teachers. Resources can include such things as: Teacher knowledge Student knowledge Teaching Assistants I.C.T. computers, O.H.P.s, digital cameras, video cameras etc Research Homework A brilliant and effective lesson is very hard to achieve. A well-structured lesson is a must as long as there is flexibility allowed, as previously mentioned. Presentation and delivery are also important aspects to consider whilst not forgetting the power of the teacher to inspire: Use rich language and lots of repetition. Encourage learning behaviours noticing, naming, describing, speculating, questioning. Encourage physical exploration and robust play. (Smith, p.46) Other things that are found in a good lesson vary from subject to subject, factors that I consider crucial in English are: 1) Good planning and preparation. A well planned and prepared lesson is more likely to be a good one. Each learning objective and task to meet that objective is carefully considered to be beneficial to the students. This is an ongoing target, which I feel I have met to a basic level. 2) Knowing the pupils well. By knowing the pupils well you can cater for all their weaknesses and abilities, set achievable targets, expectations and boundaries. Again, I know the majority of my students and some of their weaknesses and strengths but I realise more background research on the pupils is needed. 3) Differentiation/learning styles. This is to benefit each student with their own needs and learning styles tailoring the lesson so that it is accessible to thirty or more students. This is a key aim of mine and although I feel I understand what is needed, I need to spend a great deal of time on this area. 4) Check understanding continually (also from assessment). I check at regular intervals by asking questions, checking books and work in lesson. This is important because it is vital to realise if you are going too fast or too slow. Students that dont understand will switch off. Also, knowing when you are going too fast is crucial and leads on to: 5) Consolidation building on prior knowledge/looking to future lessons. This can be added to the start of a lesson to refresh memories and to let the students know the content of the lesson. I feel I do consolidate consistently but it is an ongoing, rolling target of mine. 6) Appropriate working relationship with students. As previously mentioned, to benefit the student and the teacher, getting the correct balance has to be achieved. This is an area where I realised I needed to focus myself. I think I am gradually achieving that balance. A critical aspect of the facilitation of learning is the actual environment where the learning takes place, usually the classroom. Children are learning all the time, whether they know about it or not: There is a great deal of learning that goes on outside of conscious attention. The brain processes information that is neither attended to nor noticed and this process is pervasive and ongoing. Children can, in some situations, be learning without the involvement of the teacher! (Smith, p.161) There are other ways to make the classroom an enriched learning place and accessible to all. Behaviour is a major factor, if you have bad behaviour constantly and from different students, you may well question your choice of lesson for them. A lesson that is too easy for students is just as bad as a lesson that is too hard for them. Better behaviour means better learning. Classrooms become better places in which to study and more enjoyable to work in.  [2]   It is also beneficial to students and teachers alike, to be consistent when setting and enforcing rules and boundaries. By talking to staff and from my own experiences, I have realised this is an important aspect. Clarification, explanation and the displaying of rules and guidelines are essential as pupils learn best in ordered environments where boundaries are clear.(DfES 2003) It is easy to overlook the actual classroom space. This is an integral part to the students lessons. Is it light and airy? Is it overcrowded or badly set out? Are the wall displays overbearing, too busy? Or, are the displays subtly aiding learning by just being visible? Students are proud to see their own work on the walls and this sense of well-being can only help create a positive atmosphere. It is good for the students to know where everything is in a classroom. Are the dictionaries and other resources easily accessible? Are the tables and chairs set out in rows or in groups? Which way would suit the task you are about to set? I have always thought that this is an area that could easily be overlooked by teachers and although I aim to consider this factor, I find it difficult when I use twelve different rooms, some of them art and science rooms which are not conducive for teaching English. Differentiation is a major consideration in the classroom. Recognising, understanding and catering for every childs individual needs are essential; knowing the pupils, planning for them appropriately and setting achievable learning outcomes. Getting the balance between challenging content and achievement can be difficult, even for experienced teachers. That is why it is so important to know your pupils well, as previously discussed. What special educational needs do they have? What can you do to help them progress in their learning? In English, recognising reading and writing problems, are they dyslexic? Also, speaking and listening problems, autism and understanding these problems is necessary. How can you make your lessons more accessible for them? You can try to understand their problems and talk to the Senco about how to facilitate learning better. Have they any background or social problems? Teachers have to differentiate for the gifted and talented in their classes, with extens ion tasks combined with rewards, whilst not forgetting all the pupils in between. It is also a key aim for teachers to be reflective, recognising the good aspects of their teaching and developing them in order to facilitate progression in pupils learning. It is also necessary for them to realise where their teaching techniques and methods can be improved to achieve their full potential as an educator, which in turn, will improve the student. Although I have only limited experience, one example is fresh in my mind: Whilst beginning to take a year 11 GCSE prep. group, I realised that because of their lack of motivation, they werent really benefiting from my lessons. I discussed the issue with my mentor and approached from a different angle, changing my lesson plans, tasks and delivery to get their attention and to offer the skills they needed to learn. I think that the role of the teacher is an indefinable idea. As times change, so do the responsibilities and duties for a teacher. One thing remains constant however, the main drive of teacher as educator. Although teachers wear many different hats, their actual teaching hat is never taken off, that is the one thing that takes precedence. As previously mentioned, teachers have to be flexible nowadays, and it is this pliability that has helped to make teaching such a demanding but rewarding career. Teaching has evolved and the roles are many and varied across the entire spectrum. There is a shift in telling the children what they need to know, to telling the children how to find out what they need to know, giving them the responsibility for their learning and development. In English, there is a drive towards prioritising what the child needs to progress on, students are marked and evaluated as individuals not as a whole class. Getting the balance between consolidation and moving the class on is a constant consideration and through teaching, teachers are learning how to adapt and improve so they can benefit the students to their full potential.

Compare and Contrast ?Genesis? and ?Penetrating to the Heart of the For

Topic # 3 Compare and Contrast â€Å"Genesis† and â€Å"Penetrating to the Heart of the Forest†, Looking at both myth and short story. Although there are many similarities present, a distinct difference is made between â€Å"Genesis† and "Penetrating to the Heart of the Forest" in that â€Å"Genesis† is a mythical narrative while "Penetrating to the Heart of the Forest" is an adaptation of a mythic story (Adam and Eve) in the form of a short story. When comparing and contrasting these two stories we see similarities in storyline, themes, symbols, differences in detail, and the extent and significance of the stories themselves. When deciding whether these narratives are myths or short stories, one must look at the contents of each piece of work. â€Å"Genesis† can clearly be defined as a myth because it contains all the characteristics of a myth. These characteristics include casual and vague descriptive writing about a very significant and important piece of work. Characteristics of myths also include â€Å"superstitious† themes, characters and the establishment of traditional ways of life and belief systems for a wide variety of people. Although â€Å"Genesis† contains one of the most popular and significant creation tales today, its lack of description and vague details account for its acceptance of being a myth. An example of this is the seven days of creation being written in one chapter; â€Å"In the beginning God created the heavens and the earth, and the earth was formless and voice† (The Access Bible 2). This suggests that â€Å"Genesis† may have been passed down orally from generation to generation, which, according to Campbell (â€Å"The First Storytellers†), resembles all other myths. The presence of solely flat or static characters (such as Adam and Ever) is a good example to show why â€Å"Genesis is considered a myth†. Only imprecise details about Adam and Eve are given and we lack any understanding of personality or character traits. The existence of superstition is also very apparent in â€Å"Genesis†. God (the embodiment of good) is constantly at work as is the Serpent (the embodiment of evil). The supernatural is a key element in the â€Å"Genesis† creation myth. Examples of these elements are; the presence of angels, a holy sword, and a tree of unnatural, divine abilities (Bible 2, 6, 7). Supernatural e... ...). Whereas â€Å"Penetrating to the Heart of the Forest† lacks this, and focuses on entertainment rather than education. The absence of God and other supernatural characters contributes to a lack of mythical sensation. â€Å"Genesis’† focus is to â€Å"teach truths about the nature of reality, the meaning of life, and the purpose of human existence,† (Bible 2) while â€Å"Penetrating to the Heart of the Forest† is a purely entertainment driven short story. Although both â€Å"Genesis† and â€Å"Penetrating to the Heart of the Forest† can be seen as fictitious narratives containing similar qualities, themes, and storylines, both present clear differences in purpose, direction, and description as well as â€Å"Genesis† being a myth and â€Å"Penetrating to the heart of the forest† as being a short story with a mythic plot. Word Count: 1,187 Works Cited Access Bible, The. New Revised Standard Version. Ed. Gail R. O’day, David Petersen. Oxford University Press; pg 1-7. â€Å"The First Storytellers.† Prod. Apostrophe S. Productions, Inc. New York: Mystic Fire Video Inc., 1988. Carter, A. â€Å"Penetrating to the Heart of the Forest†; Fireworks: Nine Profane Pieces; 1974: Penguin books; pg 51-66.

Ethical Issues in Secured Communications Essay -- Communication Ethics

Ethical Issues in Secured Communications 1. Introduction The outstanding growth of network technologies in the past decade have contributed to millions of new applications and industries. Literally millions of companies around the world were created to serve this huge growth. Even though many of those companies did not survive until the present time, most of the applications did survive and they are still widely used among consumers of all ages, cultures, and backgrounds. Most of the widely used applications are not secured. I will define what is meant by a secured communication later in the paper. However, this paper is more concerned in the way people use these applications in terms of identity. Many applications allow users to participate in specific discussion groups or web activities as anonymous. Anonymity might not be a problem in open chatting rooms for example, but what about banking applications or email or even instant messaging. Email and instant messaging software are free to use and provided by respective companies such as Microsoft and Yahoo. Those services do not require a real identity to be used and many people use these services as anonymous. The opposite of being anonymous is to be verified, and in order for someone to be verified on the internet, he/she has to be authenticated. Authentication ensures that the person using a specific application is whomever he/she claims to be. This paper will look in detail on how authentication can be achieved on the web and why it is necessary. Then I will focus on the notion of anonymity and identity. Then we will see who supports anonymity on the web and why. Then we will see who stands against it and why. A controversial example will be given and ... ... [2] 2000 B.C. Intell. Prop. & Tech. F. 041901 - Herman T. Tavani, â€Å"Privacy and the Internet† [3] 1999 B.C. Intell. Prop. & Tech. F. 060506 - Dr. Ronald J. Kizior, â€Å"Lurking on the Internet† [4] 1999 B.C. Intell. Prop. & Tech. F. 060507 - Adam White Scoville, â€Å"Text is Self: The Merger of Property and Identity† [5] W. Stallings, "Cryptography and Network Security: Principles and Practice", Prentice Hall, 2002, Ch. 14 [6] E. Shaefer, "MATH 178/196 class notes", Santa Clara University, Computer Science and Mathematics department [7] http://www.penet.fi/press-english.html [8] http://legacy.eos.ncsu.edu/eos/info/computer_ethics/privacy/anonymity/ [9] http://www.niksula.cs.hut.fi/~eklund/Opinnot/netsec.html [10] N. Ling," Data Compression 1 class notes", Santa Clara University, Computer Engineering Department [11] Anonymity on the web FAQ

Global Marketing :: essays research papers

New and improved products are developed almost daily, they are launched in the marketplace in hopes that the product will be accepted and purchased, the fate of any product is determined by consumers through their acceptance and purchase or rejection of the product. New product introductions are becoming more and more expensive and the product success rate is less than in previous years. The number of promotion methods to choose from can be overwhelming, and finding the best method which will allow the Palm Mercury to flourish in the market is a very challenging step to overcome. PalmOne has developed a new product and we want to tell a large number of people about it very quickly. Mass selling is our intention. Several of the approaches that will allow PalmOne to determine the potential success of the Mercury is to initiate a small, cost effective mass selling campaign that can easily grow to a much larger campaign in the coming months. We can put together a short campaign very cost effectively to quickly establish if this kind of promotion will work. One of the most effective approaches to reach people on the go is to advertise the product on the radio. Radio reaches tens of thousands of people each day while driving in their car, or listening at the beaches and the intended advertisements will reach our target listeners with our message. We will plan an advertisement campaign over a single week or multiple weeks in order maximize the impact. Advertisements will be run several ways through the radio stations. Radio stations love prizes and free products. PalmOne can provide a small number of the Palm Mercury’s for give-a-aways and contests. Contests have a high audience participation and retention rate giving PalmOne some much desired publicity. Picking the correct prize, the correct approach and the correct target audience will allow the Palm Mercury to receive desirable exposure for a minimal cost.

Carl Jung Theory

Jung's theory divides the psyche into three parts. The first is the ego, which Jung identifies with the conscious mind. Closely related is the personal unconscious, which includes anything that is not presently conscious, but can be. The personal unconscious is like most people's understanding of the unconscious in that it includes both memories that are easily brought to mind and those that have been suppressed for some reason. But it does not include the instincts that Freud would have it include. But then Jung adds the part of the psyche that makes his theory stand out from all others: the collective unconscious. You could call it your â€Å"psychic inheritance. † It is the reservoir of our experiences as a species, a kind of knowledge we are all born with. And yet we can never be directly conscious of it. It influences all of our experiences and behaviors, most especially the emotional ones, but we only know about it indirectly, by looking at those influences. There are some experiences that show the effects of the collective unconscious more clearly than others: The experiences of love at first sight, of deja vu (the feeling that you've been here before), and the immediate recognition of certain symbols and the meanings of certain myths, could all be understood as the sudden conjunction of our outer reality and the inner reality of the collective unconscious. Grander examples are the creative experiences shared by artists and musicians all over the world and in all times, or the spiritual experiences of mystics of all religions, or the parallels in dreams, fantasies, mythologies, fairy tales, and literature. A nice example that has been greatly discussed recently is the near-death experience. It seems that many people, of many different cultural backgrounds, find that they have very similar recollections when they are brought back from a close encounter with death. They speak of leaving their bodies, seeing their bodies and the events surrounding them clearly, of being pulled through a long tunnel towards a bright light, of seeing deceased relatives or religious figures waiting for them, and of their disappointment at having to leave this happy scene to return to their bodies. Perhaps we are all â€Å"built† to experience death in this fashion. Archetypes The contents of the collective unconscious are called archetypes. Jung also called them dominants, imagos, mythological or primordial images, and a few other names, but archetypes seem to have won out over these. An archetype is an unlearned tendency to experience things in a certain way. The archetype has no form of its own, but it acts as an â€Å"organizing principle† on the things we see or do. It works the way that instincts work in Freud's theory: At first, the baby just wants something to eat, without knowing what it wants. It has a rather indefinite yearning, which, nevertheless, can be satisfied by some things and not by others. Later, with experience, the child begins to yearn for something more specific when it is hungry — a bottle, a cookie, a broiled lobster, a slice of New York style pizza. The archetype is like a black hole in space: You only know its there by how it draws matter and light to itself. The mother archetype The mother archetype is a particularly good example. All of our ancestors had mothers. We have evolved in an environment that included a mother or mother-substitute. We would never have survived without our connection with a nurturing-one during our times as helpless infants. It stands to reason that we are â€Å"built† in a way that reflects that evolutionary environment: We come into this world ready to want mother, to seek her, to recognize her, to deal with her. So the mother archetype is our built-in ability to recognize a certain relationship, that of â€Å"mothering. † Jung says that this is rather abstract, and we are likely to project the archetype out into the world and onto a particular person, usually our own mothers. Even when an archetype doesn't have a particular real person available, we tend to personify the archetype, that is, turn it into a mythological â€Å"story-book† character. This character symbolizes the archetype. The mother archetype is symbolized by the primordial mother or â€Å"earth mother† of mythology, by Eve and Mary in western traditions, and by less personal symbols such as the church, the nation, a forest, or the ocean. According to Jung, someone whose own mother failed to satisfy the demands of the archetype may well be one that spends his or her life seeking comfort in the church, or in identification with â€Å"the motherland,† or in meditating upon the figure of Mary, or in a life at sea. Mana You must understand that these archetypes are not really biological things, like Freud's instincts. They are more spiritual demands. For example, if you dreamt about long things, Freud might suggest these things represent the phallus and ultimately sex. But Jung might have a very different interpretation. Even dreaming quite specifically about a penis might not have much to do with some unfulfilled need for sex. It is curious that in primitive societies, phallic symbols do not usually refer to sex at all. They usually symbolize mana, or spiritual power. These symbols would be displayed on occasions when the spirits are being called upon to increase the yield of corn, or fish, or to heal someone. The connection between the penis and strength, between semen and seed, between fertilization and fertility are understood by most cultures. The shadow Sex and the life instincts in general are, of course, represented somewhere in Jung's system. They are a part of an archetype called the shadow. It derives from our prehuman, animal past, when our concerns were limited to survival and reproduction, and when we weren't self-conscious. It is the â€Å"dark side† of the ego, and the evil that we are capable of is often stored there. Actually, the shadow is amoral — neither good nor bad, just like animals. An animal is capable of tender care for its young and vicious killing for food, but it doesn't choose to do either. It just does what it does. It is â€Å"innocent. † But from our human perspective, the animal world looks rather brutal, inhuman, so the shadow becomes something of a garbage can for the parts of ourselves that we can't quite admit to. Symbols of the shadow include the snake (as in the garden of Eden), the dragon, monsters, and demons. It often guards the entrance to a cave or a pool of water, which is the collective unconscious. Next time you dream about wrestling with the devil, it may only be yourself you are wrestling with! The persona The persona represents your public image. The word is, obviously, related to the word person and personality, and comes from a Latin word for mask. So the persona is the mask you put on before you show yourself to the outside world. Although it begins as an archetype, by the time we are finished realizing it, it is the part of us most distant from the collective unconscious. At its best, it is just the â€Å"good impression† we all wish to present as we fill the roles society requires of us. But, of course, it can also be the â€Å"false impression† we use to manipulate people's opinions and behaviors. And, at its worst, it can be mistaken, even by ourselves, for our true nature: Sometimes we believe we really are what we pretend to be! Anima and animus A part of our persona is the role of male or female we must play. For most people that role is determined by their physical gender. But Jung, like Freud and Adler and others, felt that we are all really bisexual in nature. When we begin our lives as fetuses, we have undifferentiated sex organs that only gradually, under the influence of hormones, become male or female. Likewise, when we begin our social lives as infants, we are neither male nor female in the social sense. Almost immediately — as soon as those pink or blue booties go on — we come under the influence of society, which gradually molds us into men and women. In all societies, the expectations placed on men and women differ, usually based on our different roles in reproduction, but often involving many details that are purely traditional. In our society today, we still have many remnants of these traditional expectations. Women are still expected to be more nurturant and less aggressive; men are still expected to be strong and to ignore the emotional side of life. But Jung felt these expectations meant that we had developed only half of our potential. The anima is the female aspect present in the collective unconscious of men, and the animus is the male aspect present in the collective unconscious of women. Together, they are referred to as syzygy. The anima may be personified as a young girl, very spontaneous and intuitive, or as a witch, or as the earth mother. It is likely to be associated with deep emotionality and the force of life itself. The animus may be personified as a wise old man, a sorcerer, or often a number of males, and tends to be logical, often rationalistic, and even argumentative. The anima or animus is the archetype through which you communicate with the collective unconscious generally, and it is important to get into touch with it. It is also the archetype that is responsible for much of our love life: We are, as an ancient Greek myth suggests, always looking for our other alf, the half that the Gods took from us, in members of the opposite sex. When we fall in love at first sight, then we have found someone that â€Å"fills† our anima or animus archetype particularly well! Other archetypes Jung said that there is no fixed number of archetypes that we could simply list and memorize. They overlap and easily melt into each other as needed, and their logic is not the usual kind. But here are some he mentions: Beside s mother, their are other family archetypes. Obviously, there is father, who is often symbolized by a guide or an authority figure. There is also the archetype family, which represents the idea of blood relationship and ties that run deeper than those based on conscious reasons. There is also the child, represented in mythology and art by children, infants most especially, as well as other small creatures. The Christ child celebrated at Christmas is a manifestation of the child archetype, and represents the future, becoming, rebirth, and salvation. Curiously, Christmas falls during the winter solstice, which in northern primitive cultures also represents the future and rebirth. People used to light bonfires and perform ceremonies to encourage the sun's return to them. The child archetype often blends with other archetypes to form the child-god, or the child-hero. Many archetypes are story characters. The hero is one of the main ones. He is the mana personality and the defeater of evil dragons. Basically, he represents the ego — we do tend to identify with the hero of the story — and is often engaged in fighting the shadow, in the form of dragons and other monsters. The hero is, however, often dumb as a post. He is, after all, ignorant of the ways of the collective unconscious. Luke Skywalker, in the Star Wars films, is the perfect example of a hero. The hero is often out to rescue the maiden. She represents purity, innocence, and, in all likelihood, naivete. In the beginning of the Star Wars story, Princess Leia is the maiden. But, as the story progresses, she becomes the anima, discovering the powers of the force — the collective unconscious — and becoming an equal partner with Luke, who turns out to be her brother. The wise old man guides the hero. He is a form of the animus, and reveals to the hero the nature of the collective unconscious. In Star Wars, he is played by Obi Wan Kenobi and, later, Yoda. Notice that they teach Luke about the force and, as Luke matures, they die and become a part of him. You might be curious as to the archetype represented by Darth Vader, the â€Å"dark father. † He is the shadow and the master of the dark side of the force. He also turns out to be Luke and Leia's father. When he dies, he becomes one of the wise old men. There is also an animal archetype, representing humanity's relationships with the animal world. The hero's faithful horse would be an example. Snakes are often symbolic of the animal archetype, and are thought to be particularly wise. Animals, after all, are more in touch with their natures than we are. Perhaps loyal little robots and reliable old spaceships — the Falcon– are also symbols of animal. And there is the trickster, often represented by a clown or a magician. The trickster's role is to hamper the hero's progress and to generally make trouble. In Norse mythology, many of the gods' adventures originate in some trick or another played on their majesties by the half-god Loki. There are other archetypes that are a little more difficult to talk about. One is the original man, represented in western religion by Adam. Another is the God archetype, representing our need to comprehend the universe, to give a meaning to all that happens, to see it all as having some purpose and direction. The hermaphrodite, both male and female, represents the union of opposites, an important idea in Jung's theory. In some religious art, Jesus is presented as a rather feminine man. Likewise, in China, the character Kuan Yin began as a male saint (the bodhisattva Avalokiteshwara), but was portrayed in such a feminine manner that he is more often thought of as the female goddess of compassion! The most important archetype of all is the self. The self is the ultimate unity of the personality and is symbolized by the circle, the cross, and the mandala figures that Jung was fond of painting. A mandala is a drawing that is used in meditation because it tends to draw your focus back to the center, and it can be as simple as a geometric figure or as complicated as a stained glass window. The personifications that best represent self are Christ and Buddha, two people who many believe achieved perfection. But Jung felt that perfection of the personality is only truly achieved in death.