The Work Of Art In The Age Of Mechanical Reproduction Summary Essay Example For Students

The Work Of Art In The Age Of Mechanical Reproduction Summary Essay Walter Benjamins The Work of Art in the Age of Mechanical Reproduction is written in an unfamiliar manner that left me totally confused. After reading the essay, I almost flew out the door to find the nearest bookstore to pick up a Cliffs Notes to help me better understand the reading. Benjamins thought process is being constantly interrupted with ambiguous Roman numerals which stray from idea to idea. Instead of the paper flowing naturally from thought to thought the Roman numerals act as stopping points between each subject he talks about. The paper seems to be more of a documentation of quotes on art reproduction than an essay on art reproduction. His use of footnotes is especially intriguing because they are used for more than just documenting quotes or sections of the text. The footnotes on some pages sometimes seem to contain more information than the actual body of the text. Its as if Benjamin states an idea or thought and then explains it further in the footnote rather than in following sentences. We will write a custom essay on The Work Of Art In The Age Of Mechanical Reproduction Summary specifically for you for only $16.38 $13.9/page Order now In the seventh Roman numeral Benjamin said that Earlier much futile thought had been devoted to the question of whether photography is an art (Benjamin 85). Benjamin is unclear in his decision of whether photography is an art form or not. He just sees the ease of reproducibility as being a downside to the art form. The fact of the matter is that photography is just as much of an art form as painting and sculpture. A photographer chooses to capture a split second of time in any million of possible moments while also taking into account the angle, lighting, lens, color, and subject. Art is very controversial when it comes down to what is and isnt art. The particular way I clean a fish with precision and skill using a knife to get every portion of meat can be an art. Whos to say Im wrong. I am tired of reading essays about art criticism (Berger, Benjamin) that focus on what art isnt rather than what it is. Benjamin states The feeling of strangeness that overcomes the actor before the camera, as Pirandello describes it, is basically of the same kind of estrangement felt before ones own image in the mirror. But now the reflected image has become separable, transportable, and where is it transported? Before the public (Benjamin 88). The type of strangeness described by seeing yourself in the mirror or on film is separated by the fact that thousands of people will see you when on film, while in the mirror your aura is there only for you to see. The footnote following this quote states The change noted here in the method of exhibition caused by mechanical reproduction applies to politics as well. Since the innovations of camera and recording equipment make it possible for the orator to become audible and visible to an unlimited number of persons, the presentation of the man of politics before camera and recording equipment becomes paramount (Benjamin 88). This footnote compares a politician using film and TV to an actor acting in front of a camera. This method allows the politician to appear larger than life because he is seen by so many people at the same time. The politicians image has been transported before the public.

Rebuild your career after job loss

Rebuild your career after job loss If you’re reading this, it may be because the worst has already happened: you’ve been laid off or fired. Or perhaps you’re prepping for the doomsday scenario, just in case. Either way, know that a layoff or a firing is not a life-ending (or even career-ending) thing. When it happens, the shock and devastation can lead to pessimism about your next steps. But try to keep these tips in mind if it happens to you. Know that it’s okay to grieve.Job loss is a huge change. Routine, stability, future planning- all of these are likely upended by the news. It’s okay to let yourself feel the range of emotion after it happens, like anger, depression, fear, and humiliation. You may try to put on a brave face, but don’t try to quash the emotions altogether. Acceptance and moving on mean working through the feelings rather than ignoring them.Take it as an opportunity.No, really. It probably doesn’t feel like one- I know when I got laid off, I felt pes simism creeping in right away. But soon I started to realize that I’d hated my job, and this was a chance to start over without having to make the tough decision to quit and walk away. This job loss does take away some of your own agency (we all want things to be on our own terms), but once it happens, embrace it as a chance to start over. Maybe it’s time for a career change?Don’t lie about it.You’re going to need to move on to a new job, and that means finding a way to spin what happened at your last one. It can be tempting to lie about the circumstances under which you left out of a sense of personal pride or fear of rejection, but don’t do it. If you were fired for a reason, that will likely come up during either reference checks or background checks (if it was serious).On your resume, you don’t need to be specific about what happened. But you should be prepared to discuss it in an interview. â€Å"Why did you leave your last job?† is a common default interview question, and it’s pretty much inevitable that you’ll face it at some point. If you were laid off, a response like â€Å"my position was eliminated† or â€Å"the company downsized† is totally acceptable. If you were fired, you can give a general explanation as to why, and explain a) what you learned from it; and b) how that knowledge makes you a better employee. Second chances are not impossible, but you have to make a good case for yourself.Whatever the circumstances, remember that you’re still alive, and you’re still you. The positive qualities you bring to the table are ultimately more important than your past, so as long as you take the time to learn from the experience and think hard about how to repackage yourself, you can turn it into a career opportunity (if a painful one).

Modern Europe Research Paper Example | Topics and Well Written Essays - 2750 words

Modern Europe - Research Paper Example The issue of whether or not the NATO is still a relevant organization can be resolved by assessing the organization’s ability to protect and ensure security and peace when it is most needed. With the global reach of activities which disturb the peace and security, the efficacy of the NATO seems to depend on the degree to which a more extensive application of its overall goals can be established and supported (Michta, 2007). Even as the NATO is considered an organization of equal states (with equal authority) who apply a consensus in their decision-making processes, the organization seems to function based on the extent of United States participation in these decisions. The security policy objectives of the US are important policies for the NATO (Michta, 2007). Its future efficacy largely depends on whether the European members will consider sharing common priorities with the Americans and whether these members will accept the related risks to such sharing. In the contemporary scene, it is important to consider the extent to which NATO supports such goals and the extent to which it has failed. NATO’s current dilemma exemplifies the looming issues in the current operations, mostly in the continuing armed issues with the NATO-led International Security Assistance Force in Afghanistan. (Michta, 2007). The questions on NATO’s efficacy come from its failure to implement similar expansion activities it implemented during the 1990s in terms of military capability. Such a failure also comes from the missed opportunities after the September 11 attacks and the intercontinental political gaps over Iraq. Despite the shared contempt for any and all terrorist attacks, the US and the European states have still not agreed on how to respond to terrorist and other forms of attacks (Daalder and O’Haanlon, 2001). Attempts to resolve these differences in perceptions have not been successful. As a result, countries like France, Germany, and other European states still have differing opinions with the US in terms of methods which address the terrorist issue and other securi ty problems. The NATO is currently unstable because the end of the Cold War threat in the 1990s caused a gridlock on what the organization’s main mission should then be (The Economist, 2011). NATO established that it needed to consider partnerships, expansions, and enhancement of capabilities; however, the organization cannot seem to act as a united organization in terms of what its main security mission today is. The visions for NATO seem to be competing with each other, and these competing visions are not likely to be settled or resolved via the Continental security approach being advocated by France, Belgium and Germany (Michta, 2007). While the European members have supported NATO’s operations, the scope and the quality of the missions seems to be vague. Moreover, the EU’s goals to establish the European Security and Defense Policy have also impacted on the NATO’

Biological Aspects Of The Evolution Case Study Example | Topics and Well Written Essays - 250 words

Biological Aspects Of The Evolution - Case Study Example The ancestral character is normally inherited from a distant ancestor while the derived character is one that has experienced fresh evolutionary transformation in a group. The derived characters are employed to classify species that share the trait together to signify that a common contemporary ancestor had similar traits. The sharks share a common character with the rest of the organism in the tree, which is a vertebra. This implies that all animals in the phylogenetic tree are vertebrae. The second trait that is found in all the animals except the shark is a bony skeleton that developed in Phase 2 of the tree. This makes the shark different from the other organisms. At level 3, the specific trait that is shared amongst the rest of animals is four limbs. Therefore, ray-finned fish are separated from the other animals at this stage of growth. At the development stage, 4 the common trait is an amniotic egg that is present in the remaining species. At level 5, the derived character that makes primates, rodents, and rabbits to be distinct is the existence of hair. The crocodiles, dinosaurs, and birds, have one trait, which is two post-orbital fenestrae (University of California Museum of Paleontology, 2011). In conclusion, transformation in character happens in a period where traits may be acquired or become extinct.

PROJECT ENVIRONMENT ANALYSIS Essay Example | Topics and Well Written Essays - 3500 words

PROJECT ENVIRONMENT ANALYSIS - Essay Example This is must to have a clear mission and strategic plan, as well as annual objectives. These are the blueprints that validate and guide the ideas emerging from the process of change. Detailed and outward-looking research into the organisation and role in it, as well as larger economic, demographic, political and social trends, are also important. To bring about change via project management must be as thorough as a new business start up. Learning serves as a basis for a competitive project management. It is to make company capable of utilising and encouraging the development of knowledge and skills of all employees across all functional levels. The company must integrate the knowledge into each member of project management team, and "encourage and reinforce all modes of learning, and align all of this learning with the companys strategic business directions." (Smith, 2005) The changes in the contemporary knowledge are in the background of many of the emerging challenges in project management, human resource and employee relationship in organisations. The practices of project management in global firms have their own value and status to gain knowledge for their success. The speed and quality in addressing the needs of learning is deciding the winners of tomorrow. Hence, success of a project is now depending on the ways its project management team practices, gain and responds towards available knowledge. However to be effective player in this new environment organisations have to be more flexible dynamic and to create an efficient project environment. They need to master a wide variety of skills, and the strategy of success should move around the interdependent layers of organisational capabilities which will reinforce each other across all the businesses, functions and markets. The secrecy behind such success of a project implies in developing the people who can act from

Amendments of Public Entertainments and Meetings Act (PMA)

Amendments of Public Entertainments and Meetings Act (PMA) To whom it may concern, As a dutiful Singaporean citizen who is deeply concerned with the tidings of our local arts industry, I am writing in to exhort the Media Development Authority (MDA) to review the proposed amendments of the Public Entertainments and Meetings Act (PEMA) that was released on May 12th 2014. I also refer to Ms. Corrie Tan’s article titled, â€Å"Art of Censorship in Singapore† (The Straits Times, 7 June 2014). I understand that the aforementioned proposition seeks to establish a â€Å"co-regulatory partnership† with local art practitioners by â€Å"empowering arts entertainment event organisers to classify their own performances whilst adhering to community standards and expectations† (MDA, 2014a). Consequently, a new Arts Term Licensing Scheme which mandates the obligatory training of individual artists from local art companies by the MDA as qualified â€Å"content assessors† for â€Å"self-classification† has been edict. Whilst the general outlook of the said proposal may be well meaning in nature as it confers a window peek to MDA’s progressive shift toward the relegation of some of its authority over content classification to its relevant communities (The Straits Times, 10 June 2014), in this case, the arts to local art practitioners, a closer examination upon the various stratums underlying the scheme has left me exceedingly troubled as many fundamental assumptions rooted in its conception, albeit seemingly benign on paper, remains deeply problematic in both practice as well as in spirit. Accordingly, I note that the concepts of â€Å"self-classification†, â€Å"co-regulation†, and â€Å"empowerment† of the local arts industry as posited in the new scheme, falls on a highly erroneous continuum of prevarication as they have not been veritably demonstrated. The notion of â€Å"self-classification† suggests that local art practitioners are granted with an autonomous, free-willed, and imperative role of contribution in the development and undertaking of the classification guidelines. Yet, such has been reflected otherwise in practice as the â€Å"classification† of art works remain subjugated to the prescribed criterions solely ordained by the MDA, without assembling any prior consultations or discussions with art practitioners (Arts Engage, 2014a). In addition, â€Å"self-classification† implies the absence of censorship wherein art works merely follow a catalogue of classification ratings and are never subjected to prohibition. However, the â€Å"Not Allowed for Ratings† category (MDA, 2014c) – in other words, a euphemism for censorship – runs contradictory to the idea of â€Å"self-classification†. It seems that this new scheme by MDA is but a reinstatement of the same old perilous template of censorship in Singapore where authorities are conceived as the unequivocal â€Å"arbiters of tastes† (McGuigan, 1996), rather than trusting artists to be ethically, morally, or socially responsible, and that of my fellow Singaporeans’ capacity to judge an art work critically. Under the principles of classification published in the 2010 report by the Censorship Review Committee (CRC Report, 2010), it was stated that â€Å"classification boundaries must be set according to community standards determined via an engagement process involving the regulator, community, and the industry.† This suggests the presence of an open, transparent, and inclusive process of engagement amongst artists, authorities, and members of the public to determine the perimeters of classification – as in tandem with MDA’s ideals of â€Å"consultation† and working closely with â€Å"expertise and perspectives of a wide spectrum of society† (MDA, 2014b) and the purported notion of â€Å"co-regulation†. However, this is not reflected in truth as the new Arts Term Licensing Scheme which edicts artists to be trained by the MDA as â€Å"qualified content assessors† is but a guise of the state policing the arts by proxy as these â€Å"content assessors† are strictly tethered to executing MDA’s rules. Instead of creating an ingenuous engagement between art practitioners and the MDA where genuine partnership and shared responsibilities may be fostered, artists are merely subjugated as extensions of MDA’s censorships. This, I believe is not â€Å"co-regulation†, but a faà §ade for self-censorship. More notably, such a move resembles that of a â€Å"panopticon† surveillance (Foucault, 1977) with MDA’s pervasiveness at â€Å"disciplining† and â€Å"normalizing† artistic expression on both a macro and micro level by implanting seemingly innocuous â€Å"content assessors† within the heart of art companies – so that whilst MDA’s presence appears to be incognito on the surface, their regulations still remain executed with stringency. Not only is this highly inimical to one’s artistic innovation and creativity (Arts Engage, 2014b), I believe that the fear of non-conformance would fester like an insidious wound that ultimately undermines the development of our arts industry, and on a grandeur scale, the growth of our society as a harmonious whole – as it would not be instilled within my fellow Singaporeans recognize and acknowledge the varying nuances when it comes to the interpretation of art (Chee Meng, 2014). With such an intolerant perspective that fails to conceive art as an outset for constructive discourse, how then can our nation truly blossom into a â€Å"Global City of the Arts† as our leaders have envisioned? Furthermore, it was acknowledged in the 2003 report of Censorship Review Committee that a â€Å"one-size-fits-all† paradigm of censorship is increasingly non-viable given the heterogeneous and ever-changing society of Singapore (CRC Report, 2003). Thus, it seems that this â€Å"new† approach by MDA is not only paradoxical, but terribly regressive. Additionally, whilst the MDA has stressed that the Arts Term Licensing Scheme is â€Å"optional† suggesting that artists have a â€Å"choice† in the matter, it appears that this is but a shrewd attempt by the authorities at veiling a false dichotomy to our art practitioners as they are essentially caught in between continuing the present regime where MDA issues all classifications and advisories, or that of a seemingly â€Å"different† system that is inherently the same as the former since â€Å"content assessors† are specially trained to heed MDA’s specifications. As such, I question MDAâ₠¬â„¢s sincerity at â€Å"co-regulation† and all of its supposed â€Å"ideals† of openness, engagement, inclusiveness, and transparency. In line with the Constitution of the Republic of Singapore which delineates that every Singaporean citizen possess the rights of freedom of speech (Attorney General’s Chambers, 2010) – in this case, the â€Å"speech† is expressed via the modus of art – MDA’s new scheme appears to be a flagrant violation of that democracy and with it, the concept of a â€Å"public sphere† (Habermas, 1964) where there an open space that allows for the exploration of ideas free from overbearing restrictions. If our nation is truly a democratic society, why then is the MDA imposing such harsh regulations of self-censorship upon our artists who simply yearns for art as a medium of expression, and that of mine, and my fellow Singaporean’s freedom of choice in enjoying art in all its various forms? By limiting the creations of artists, allowing audiences to be only be granted access to what is deemed as â€Å"appropriate content†, and creating a rift of division between â€Å"content assessors† and their colleagues all in the name of â€Å"public good†, is the MDA genuinely â€Å"protecting† social harmony, or is this simply a circumvented attempt at regulating a power relationship between us citizens and the state (McGuigan, 1996). In a similar vein, MDA’s espoused notion of â€Å"empowering† art practitioners by according them the prerogative in deciding the classification of their art works remains highly contentious as in practice, artists are subjugated to the strict adherence of MDA’s policing mechanisms by proxy and consequently, are renounced of any leeway to exercise their personal liberties. How then are our art practitioners â€Å"empowered† by the new scheme? Not only is this positioning of the Arts Term Licensing Scheme prevaricating to artists, it also misleads the general public into believing that the new scheme should be embraced unequivocally as it seemingly liberates our artists. As such, it seems that this assertion of â€Å"empowerment† is naught but a surreptitious attempt by the MDA at egregiously eluding all of the said problems underlying self-censorship as the scheme constructs a delusory appearance – resembling that of a â€Å"pseudo-publicâ⠂¬  sphere as postulated by Habermas (1964) – where decisions seem to be â€Å"personally† dictated by artists (i.e. public) and are seemingly â€Å"independent† of MDA’s (i.e. authority’s) intrusiveness. It is thus, disappointing to note that whilst the MDA advocates values of integrity (MDA, 2014b), such has been demonstrated otherwise in this case. More eminently, the scheme’s postulated idea that artists are to face harsh punishments including a $5,000 penalty for â€Å"non-compliance† to MDA’s regulations simply nullifies any notions of â€Å"co-regulatory partnership†, â€Å"empowerment†, whilst invoking an undercurrent of fear that only aggrandizes self-censorship. This, I believe is tantamount to regulative censorship of punitive state sanction taking on the faà §ade of constitutive censorship (Jansen, 1991) where it appears that our artists are merely â€Å"self-regulating†. With the encroachment of hefty penalties associated with â€Å"misclassification†, and MDA’s lack of clarity upon the assessment and appeal processes, what then is of MDA’s assistant chief executive, Mr. Christopher Ng’s claim that authorities would be â€Å"reasonable and fair† (Chee Meng, 2014) in the evaluation such a situation? Consequently, it also seems that this new s cheme has evinced upon an underlying distrusts of art practitioners within our society – as if artists are subversive individuals to be blot away. This, in turn, has perpetuated a fabricated sense of dichotomy of â€Å"artists versus community†, where in truth, our artists and art practitioners are also fellow citizens, parents, â€Å"heart landers†, and are very much part of Singapore and our community at large (Arts Engage, 2014a) . Instead of creating an unnecessary chasm between artists, the general public, and the authorities, as reflected in the present paradigm where the MDA is seen to be the â€Å"mediator† between disgruntled members of the public and a group of seemingly seditious artists that warrants to be â€Å"subdued†, it would be that much more purposeful for the growth of our nation, communities, and our people if we could see ourselves as a collective whole and reconcile our differences through an open, shared discourse, as opposed to mere coercion by proxy. Whilst I understand the imperativeness of MDA’s advisories in aiding audiences to make better informed choices, it is equally important to underscore that such classifications should really be meant as a general â€Å"caution†, and that delving beyond that into micro-managing the entirety of an art work only serves to backfire as not only does it impugn upon artistic integrity and the true spirit of artistic endeav our (Arts Engage, 2014a), it ultimately renders our artistic practices bleak and sterile. Rather than imposing such stringent aseptic rules, we ought to be encouraging a greater degree of sophistication and open-minded appreciation of the arts amongst the public such that it is imbued within our society the capacity to recognize that there is always more than a single â€Å"right† way in which the arts may relate to us (Chee Meng, 2014). If we could devote our efforts into nurturing a greater pool of art critics – be it in terms of adept professionals or greenhorn amateurs – in lieu of â€Å"content assessors†, we would then be able to engage in a much more active and meaningful discourse on the merits of our artistic output which I believe, would assist in establishing that much needed breadth of an open, receptive, and constructive dialogue between our artists and the MDA authorities, consequently forging an improved relationship of trust and respect that would be beneficent to all. Perhaps, a system of regulation that entails an open, consistent, and transparent process, in which discussions may be laid bare for public critique, whose jurisdiction are composed of knowledgeable, publicly-informed, and impartial members principled upon an arms-length approach from any political interests, and whose decision-making processes are periodically subjected to review by an independent body, would better serve to inspire confidence not only from our artists, but within that of my fellow Singaporeans to both the MDA authorities and our local arts industry, as well as across governments (Arts Engage, 2014b). This, I strongly assert is one of the many fundamental steps that we must take together if the MDA genuinely seeks to foster a â€Å"co-regulatory† partnership that â€Å"empowers† our art practitioners and audiences alike. Indeed, the arts should be appreciated in all of its variegated diversity, fluidity, and sublime nuances – that it is an inherent part and parcel of one’s intellectual and emotional growth that cannot be merely subjugated or predetermined by those contending privileged tastes or moral claims. Once again, I sincerely implore the relevant MDA authorities reconsider the proposed amendments of PEMA 2014, and to engage with representative citizen bodies as well as artists in another round of consultations before officially implementing the new scheme. I look forward to hearing from you, Thank you. Yours sincerely, Karen Lim.

Who is Responsible for the Death of Romeo and Juliet? Essay -- Romeo a

In the play Romeo and Juliet there are lots of events that lead to the death of the two main characters. There are many people responsible for the death of Romeo and Juliet and some of these characters are Tybalt, Capulet and Friar Lawrence. In the play, Tybalt has a large influence on the death of Romeo and Juliet. He helps contribute to their deaths because he kills Mercutio and Romeo in turn kills Tybalt which causes Romeo to be banished from Verona. Then Juliet tells â€Å"Romeo is banished!† â€Å"There is not end no limit, measure, bound. In that word’s death: no words can that woe sound.† (Act III Scene II 128-130) If Romeo had taken the time to think before killing Tybalt he would not have killed him and therefore he would not be banished from Verona. Being banished from Verona causes Juliet heartache not being able to see Romeo. As Romeo leaves from Mantua Juliet says â€Å"O God, I have an ill-diving soul! Methinks I see thee, now thou art below as one dead in the bottom of a tomb† (Act III Scene V 54-56) Also if Romeo told Mercutio that he was in love with Juliet he may have understo...