Nancy Lancaster and Her Influence on Architecture Essay Example for Free

Nancy Lancaster and Her Influence on Architecture Essay Empowerment. No other word can probably spell out how the women had ever wanted, and will always want to achieve it so long as oppression, discrimination, disparagement, abuse, and the list of scornful issues can go on until this era and so long as the eras to come continue to wreak these issues upon the women. This advocacy grew stronger every decade and the society’s sight falls upon those ‘group’ of citizens kicking up a storm within and against the ‘other’ group called men. What could better explain this outcry than their wonder that despite their membership in what the world or at least most of it recognize as society, they are clustered as ‘the second group’ with the men filling up the first. Even the artistic realm, though mostly associated with women, is predominated by the male species. After all, the great grandmother of all architectural work of art was conceived by men. The Parthenon, begun in 447 B.C., was part of a great plan conceived by the indubitably male Athenian Pericles for decorating the Acropolis in Greece. This temple was designed by three other manly architects Ictinus, Mnesicles, and Callicrates. History tells us that the Greek colonists had established this ever-male-dominated disciplines in literature, art, and architecture. Their neighbors, the Etruscans, were the first to forge practical skills in sanitation, road building, architecture, and pottery making by as early as seventh century B.C. This inequity was brought about by a number of reasons. Generally women were not permitted into the finest art institutions. As a consequence, women turned out deficient in the de rigueur education to go up against men in the field receiving the highest regard for in the scholarly realm, historical and metaphorical painting. This segregation similarly kept women from breaking the glass ceiling and establishing the social and political associates needed to thrive in the artistically aggressive ambit. Juvenile female art scholars supposed they existed in a potential period notwithstanding the several forms of complicatedness they were obliged to prevail over. Private art academe, enrolled in which was a mix of male and female students, were a commonplace, as were art schools exclusive to women. But even these art schools would not permit women to exert themselves from nude subjects until the transition to the new century. The sizeable national exhibitions demonstrated several works by women, to a certain extent for the reason that entries were tendered namelessly or incognito. Halfway through the subsequent centuries, women likewise started to establish their own exclusive expositions. Among them were Americans Mary Elizabeth Jane Colter, Lois Lilley Howe, Louise Blanchard Bethune, Sophia Hayden, and Mabel Keyes Babcock. Twentieth century architects explored new methods and materials in their designs, but the dominant style in city buildings was the angular International Style. A few architects in the United States made use of ideas found in German architecture and in the Savoye House. Although office and public buildings are impressive, it is the house that provides the most immediate architectural experiences for most people. There is a huge variety in the houses in the United States. This is seen in the thousands of buildings erected in housing developments since World War II. At one extreme, are the multiple-unit dwellings. At the other is the house designed for the needs of one family. Thanks to the households headed by women, the need for more female architects and designers were born. And together with dwellings is the widened variety of furniture and housewares that peppered the household pioneered by Nancy Lancaster. A woman designer who made a redrafting of a historic edifice was Rebecca L. Binder. The five-story academic institution she was commissioned to remake a 40,000-square feet addition, which she beautified with concrete with horizontal belts in brickwork. How she made it happen could not be sufficed with either superlative words or this magnum opus itself:   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Perhaps, Nancy Lancaster’s words could better explain the beauty that Rebecca L. Binder and the rest of the fabulous woman designers emanate through their masterpieces:   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   â€Å"I was always searching for beauty. I wasn’t as interested in the houses as I was in their ambience. In the furniture, in the history, in the garden. You never could put your finger specifically on whatever created the beauty, it was too elusive, but houses were where I found it the most†¦Ã¢â‚¬    Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Indeed, Rebecca L. Binder is but one of the many designers especially the female ones to have perpetuated the influence of one of the breakthrough designers of the modern era Nancy Lancaster. Nancy Lancaster’s words could echo the own feelings of these female designers for interiors and architecture. The revolutionary Scandinavian boomerang shapes had descended en masse upon the abodes of the more progressive of the Western population. The fifties era had set in, but in other homes, homebodies were still clinging to Victorian values, Dickens, and Puccini, while everyone else was worshipping the new gods names Elvis and Rock, and had been lured by the pale Danish furniture, delicate paper Noguchi lamps, and wretched wallpapers. The new household names were unpronounceable Sigrun Bà ¼low-Hà ¼be, Victoria Van Dyke, Itsuko Hasegawa, Signe Lagerborg-Stenius, Annette Hoyt Flanders, and Hanna Adamczewska-Wejchert.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The sixties heralded a great struggle between the love for Grand-Mere’s romantic world and the growing interest in all things modern. Out went the sweet remembrance of the old coachman’s house with its exquisite, old-fashioned rooms and in came the exciting iconoclasm of the Mary Quant, the provocative mini-skirt, and false eyelashes by the yard. Plastic reigned supreme, and inflatable transparent furniture and chairs, lamps, kitchen utensils in screaming, vile colors took over from the natural Scandinavian look. Eileen Gray, Le Corbusier, and their much-favored combination of steel, chrome, and black leather had yet to be rediscovered. For the moment, the design-conscious sat decorously in the pop designer Verner Panton’s â€Å"Champagne Chair† and in Knoll’s pristine white and curvilinear furniture, or tried to look very futuristic and 2001 in a foam and stretch-jersey construction made by Monsieur Mourge. This variety may seem to have been impossible decades ago. Back then, Expressionism was a movement that proved to be an enduring force in 20th century art, exercising a strong influence on New York painters of the 1940s and 1950s. This period also promoted the concept of neoplasticism, a plastic idiom equally applicable to painting, architecture, and the decorative arts, and was known to have influenced the Constructivists in New York. Constructivism is one of several idealist abstract art movements that arose in Europe and Russia between 1913 and 1920. It stressed total acceptance of technological, scientific society and the possibility of an ideal world based on the perfect functionalism of the machine (Frascina et al., 1982). More futuristic Vasarely patterns, the revolting combination of chocolate brown and orange and the dangerous juxtaposition of apple-green and geranium-red proved that the seventies were all about color. And about color-blindness. Walls covered with panels of brushed steel, long-haired flokati carpet that looked like the curly fur of a wet sheep, and anthropomorphic furniture ran riot. To be really in meant having plexiglass all over the place: a plexiglass coffee table, plexigllass side tables, plexiglass obelisks (with uplighters cleverly hidden in their bases so they glowed mysteriously at night), and little plexiglass supports to add drama to the objets d’art and emphasize their qualities and value. Indeed, these innovative designs were all a product of the revolutionary state of affairs during the time they were made. Thus, the artists’ revolt against the classic codes of composition, careful execution, harmonious coloring, and heroic subject matter. One museum in New York today nostalgically reflects this revolution. The Museum of Modern Art puts across the messages of women’s success, fame, power and glory with their latest exhibit Digitally Mastered: Recent Acquisitions from the Museum’s Collection. Digitally Mastered stresses total acceptance of technological, scientific society and the possibility of an ideal world based on the perfect functionalism of the machine. This modern variety in the arts springs to life with a surprising sense of alertness, as if it had a personality. Joie de vivre is what every New Yorker can describe of himself. After all, New York is the busiest city in the world. The progressiveness of women designers is entertainingly described in the most relevant movie last year. In the movie/novel The Devil Wears Prada, the highly modish corporate garb, seen on people going to work in the course of a fashion runway and doing a catwalk along the busiest business districts of New York, is still an understatement. Not only does the movie depict women progressive in the arty world but in the economic world as a whole. Women have always been the tops in the fashion world, both locally and internationally. Somehow the androgyny seems to have the advantage of knowing what their fellow women want and what men consider attractive in terms of etiquette and dress. If interior design in the eighties had a color scheme, it was mainly black and white. It was launched and cleverly promoted by the Black Widow of design, Andree Putman, a gifted talent-scout and orchestrator of striking and severe interiors, who founded the firm ECART which reproduced original designs, mainly from the thirties. As a result, a large number of tables, chairs, and lams by the totally forgotten Irish designer Eileen Gray, and creations by giants of the Art Deco period, such as Robert Mallet-Stevens and Jean-Michel Frank, were re-edited. Re-edition was the clever description that covered up the eighties’ frantic and boundless copying of originals. Design fanatics, who would never have invested any money in the acquisition of a common copy, seemed to be proud to be living with the same Fortuny Lamr, the same Eileen Gray carpet, and the same sleek Frank sofa as their neighbors. Gae Aulenti and Rebecca L. Binder very well know this. Those who thought that living among vulgar copies showed little originality seemed to find solace in the sublime and very esthetic emptiness of minimalism, reassured by the fact that if one possessed very little, one could never be accused of having no taste. Andree Putman, always light years ahead of trends to come, had already pointed a warning finger at the threatening despotism of design and at the constant fear of not being of the latest fashion. Of course, the multifaceted world of interior design had also had a string of adepts who would only take inspiration from great classical examples. In the fifties, when the boomerang fever had rise to its most dangerous level, the prominent Madeleine Castaing was filling the pages of the leading magazine Connaissance des Arts with images of rooms that looked deceptively period. Her love of white and gold and her penchant for velvets and damask silks and a flamboyant use of antiques seemed, at that time, only accessible to the moneyed few. Madame Castaing’s subtle concoction of le style Anglais, bourgeois Viennese biedermeier, and sever Frencg directoire reached its zenith at her own chateau near Chartres. But her cleverly composed â€Å"windows on the past† were like wines that do not travel, and remained imprisoned in their own country. This description could equally well apply to the formidable Nancy Lancaster herself, whose memories from her Virginia childhood transcribed in her splendid dwellings in England became the â€Å"English country† look. Her â€Å"buttah-yellah† room above the shop was the epitome of relaxed chic, and some of her statements, such as â€Å"I never thought twice about using bright colors in old houses, and â€Å"Mahogany is lovely when it’s been faded in the sun,† illustrate her loose interpretation of the past when she was attempting to create a period look. An inspired artist who spend her whole life doing up houses, Lancaster has left a most delightful description of the decoration of the staircase in her London townhouse at 28 Quen Anne’s Gate: â€Å"When you walked in, the staircase was on the left: it was the loveliest architectural feature in the house. I left the staircase a tobacco color but painted the paneling along the stairs a pale, pale green. On the window in the stair hall, I put curtains the color of a cigar, with a fringed pelmet and along the floor I had a very pretty Bessarabian runner with the same brown in it†¦Ã¢â‚¬  Her words convey something of the excitement involved in creating this prologue to a ballet performance. On the other side of the Atlantic, an equally formidable lady was also freely borrowing elements from the past. Lady Mendl, also known as Elsie de Wolfe, who invented the profession of â€Å"interior decorator† was making a risky cocktail of Louis styles in different shades of white and combining them with Venetian baroque, forties’ stucco, engraved mirrors, and walls decorated with silver leaf. The setting for a period recreation does not always have to be grand, the expenditure exorbitant, or reflective of only the sentimental female’s work. It is imagination rather than money that is the first requirement for originality.   Large amounts of money are not always needed: a room can be assembled from inexpensive finds in the flea market, a pair of old curtains, and a table found in a street or on a dumpster. All these could be found in grandma’s basement while the men in the family, leaving their women at home, rummage through the streets for the money. The likes of Nancy Lancaster prove that even the homebodies can be exorbitantly creative. Ancient patinas have their own romance that could only come from the empowered womanly instincts: crumbling walls and peeling paint can be the epitome of sophistication, and touches such as the elegant folds of draped fabric, a candlestick on an antique table, or the presence of a canopied bed all contribute to a style that has been inspired by the past but will, in the end, be timeless. References Frascina, Francis, Harrison, Charles, and Deirdre, Paul. (2002). Modern Art and Modernism: A Critical Anthology. Grosenick, U. (2002). Women Artists in the 20th and 21st Century.

Reflective Practice And Risk Social Work Essay

Reflective Practice And Risk Social Work Essay A good risk decision requires both good risk assessment and good risk management (Carson and Bain, 2008: 156). The intention of this assignment is to critically evaluate this statement with reference to my own practice experience. With the focus of this piece of practice being on children, this assignment will predominantly explore risk from the perspective of children. The assignment will start with a brief outline of the practice experience that will be referred to and will explore the social, cultural and political concepts that shape practice in relation to risk. The concepts of risk, risk assessment and risk management will be examined along with what makes them good. The assignment will then explore how Brearleys (1982) risk assessment was used before looking at theoretical frameworks of reflection. The practice experience that I will be referring to throughout this piece of work is the assessment process in preparation for a Full Assessment Report that had been requested from the Childrens Reporter Administration due to concerns for the safety of a child. During a domestic incident between Mr and Mrs Hassan, their son Raj (aged 12) was struck on the side of the face by Mr Hassan. As a result of bail conditions Mr Hassam was not allowed within a certain distance of the family home and he was not present during the first half of the assessment process. However halfway through the assessment process Mr Hassam was charged and convicted a Schedule 1 offender, with bail conditions no longer in place Mr Hassam returned to the family home. Towards the end of the twentieth century risk became a major concern within western society; Beck (1992) argues that we live in a risk society that has an emphasis on uncertainty and blame, and there is no longer a focus on succeeding in doing something good but where we are preventing the worst. Parton (1996) would agree with Beck and believes that globalisation has separated society and in turn created more uncertainty within social and economic life. As a result of the blaming culture professionals are finding themselves avoiding taking risks and feeling that they have to defend their practice and risk decisions (McLaughlin, 2007 and Barry, 2007). The media and public blame practitioners, particularly when there is a child death, and state that they put children at unnecessary high risk as they fail to intervene quickly enough. Examples of high profile child death inquiry cases include Jasmine Beckford (1985), Caleb Ness (2003) and Baby P (2008). Baby P is an excellent example of how the media and public blame practitioners and received high media attention. Media coverage of how risk assessments and risk managements have failed along with demands for minimising risks and organisational and professional accountability has constrained the role of a social worker and The 21st Century Review of Social Work (2006) acknowledges this (Barry, 2007). It implies that social work professionals were lacking in confidence when it came to taking risks in what has become a risk adverse society. One of the main areas highlighted in the report was the need for a new organisational culture and approach to risk assessment and risk management wh ich would promote merit (Scottish Executive, 2006). Official policies and guidance have been developed in recent years with the aim of improving practices and knowledge where high risks can be identified (DOH, 1991 cited in Parton, 1996). This is evident in documents that influenced my practice and I referred to them before making risk decisions, some examples include; Getting it Right for Every Child: Proposal for Action (Scottish Executive, 2005), Every Child Matters: Change for Children (HM Government, 2004) and Its everyones job to make sure Im alright: Report of the Child Protection Audit and Review (Scottish Executive, 2002). The word risk is a complex and comprehensive concept and there is no clear definition when it comes to defining what would be a low, medium or high risk (Stalker, 2003 and Barry, 2007). Many of the problems that arise during risk taking is a result of there being no exact definition of risk (Titterton, 2005). This in turn creates difficulties when defining definitions of risk, risk assessment and risk management. The Oxford English Dictionary (2002) describes the noun risk as a situation that could lead to a bad outcome or the likelihood of something unpleasant happening, and the verb risk as being exposed to danger or loss or act in a way that something bad could happen. All dictionary definitions will give the word risk negative meanings. Alaszewski and Manthorpe (1991) would agree with the negative dictionary definitions of risk and define it as, the possibility that a given course of action will not achieve its desired outcome but instead some undesired and undesirable situation will develop. Similarly Blackburn (2000) views risk as being a loss or cost as a result of uncertainty (cited in Carson and Bain, 2008). Carson and Bain (2008) and Titterton (2005) disagree with negative meanings of the word risk; they argue that such definitions are not good enough as they pose more difficulties when taking risks with peoples lives. They both argue that risk needs to be explained as looking at the potential benefits and also the potential harms. Alberg (1996) provides a useful definition of risk as, the possibility of beneficial and harmful outcomes and the likelihood of their occurrence in a stated timescale (cited in Titterton, 2005:25). Risk assessment is the stage in risk decision making where information on the elements of risk is collated and assessed, they are usually made to inform risk management. Risk assessment is concerned with collecting information on the two key risk elements; these are known as the outcomes (also known as the consequences, harm or damage) and their likelihood (also known as chance or exposure) and to assess a risk we must consider both (Carson and Bain, 2008, Titterton, 2005). The two basic assessment tools used to assess risk are; clinical which involves professional judgement and information from research on risk factors, and actuarial is based upon statistical calculations of risk and is used in the insurance industry (Barry, 2007 and Davies, 2008). Although not exclusively, actuarial data tends to be used during risk assessments and clinical during risk management (Carson and Bain, 2008). In order to undertake a good risk assessment we should include all the outcomes that could occur as a result of the risk decision and which could happen in the period that the risk is being assessed. If an outcome would happen regardless of a risk assessment being made then it did not happen as a result of a risk decision. The risk decision must have made the outcome more likely or serious; both the seriousness of the outcomes and their likelihood must be considered (Carson and Bain, 2008). When assessing the likelihood of a situation it should be based upon the best knowledge available and whether the decision would have been the same had a responsible body (i.e. SSSC) had considered it (Carson and Bain, 2008). A good risk assessment has a purpose and this is to explore the potential benefits over the possible harms. If the value of the likely benefits outweighs the value of the likely harms then we will be able to justify taking a risk decision (Titterton, 2005). We need to be able to justify taking a risk before we can learn whether harm will result. If harm does result then it is not bad risk assessment, similarly if a risk decision leads to successful outcomes we cannot say it is good risk assessment. A risk decision needs to be judged on the risk decision processes and procedures, not by the outcomes (Carson and Bain, 2008). It could be argued that there are no benefits of taking a risk and this would be deemed as bad risk assessment and must be challenged (Carson and Bain, 2008). After a risk assessment has been carried out a decision needs to be made on how to manage the situation. Risk management is discovering and controlling the dimensions of the proposed risk into a plan to manage the risks; it is involved with implementing, monitoring, influencing, controlling and reviewing the risk decision (Carson and Bain, 2008). Risk dimensions are features of risk that could be influenced by the practitioner, for example the available resources to manage the risk and uncertainty (Carson and Bain, 2008). Risk management also means making the most of the potential benefits and including service users in managing risk decisions (Stalker, 2003). In order to have good risk management we must be able to make effective use of all the dimensions of the risk assessment. This includes the time during and the amount of time of a risk decision being made and the time available to intervene if necessary. We need to be able to identify people and their skills as a resource and use their qualities, knowledge and ability to recognise problems and opportunities should they arise. We should identify and consider both positive and negative opportunities that arise at different stages as we go along a risk path. Before making a risk decision we must explore the quality and quantity of available knowledge and its significance. Knowledge is a form of power and this creates degrees of control, this includes recognising our professional, ethical and legal limits to intervene and control a risk. Good risk management is being able to use all of these resources however there is a barrier, they all cost money. Risk management is political as it is about resources, we require adequate resources for a good risk management plan and lack of resources will have an impact on this (Carson and Bain, 2008). Risk decisions are complex and may be based on unreliable or uncertain knowledge. If harm could not occur then it would not be a risk, if harms do occur then decision making and risk management will need to be examined and a risk decision that was justifiable before the event must remain justifiable after the event. The practitioner will also need to show that any decisions they did make were in line with best current practice on risk assessment and risk management. Many risk decisions will be good irrespective of poor risk management. (Carson and Bain, 2008 and Davies, 2008). Risk management is often overshadowed by risk assessment, despite the fact that it can only identify a risk and not lessen it (Stalker, 2003 and Titterton, 2005). It is important to give risk management more credit as it can prevent bad risk assessment. If a poor risk assessment is made then it can result in harm, inquiries and court proceedings. As risk management comes after the risk assessment has been made it can in turn prevent a poor risk assessment from causing harm (Carson and Bain, 2008). Also risk management concerns the implementation of the risk decision and can therefore protect against the consequences of poor risk assessment. In order to make a good risk decision we therefore require good risk assessment and good risk management (Carson and Bain, 2008). Titterton (2005) argues that risk assessment and risk management should be interconnected within the same risk framework. Brearleys (1982) definition of risk focuses on the negative outcomes of risk (i.e. damage and harm) however despite its restrictions it is argued that it is relevant as he has provided a framework that provides a good starting point for understanding and assessing risk, and that helps assist workers to recognise risk factors when faced with risky situations (Watson and West, 2006 and Kemshall and Pritchard, 1996). Brearleys risk assessment framework is interactive and uses concepts of the systems approach, task centred approach to the actuarial assessment of risk. His framework identifies two types of hazards which he refers to as general predictive hazards (background hazards) and situational hazards (current hazards); a hazard is the possibility of loss or damage that will result in danger. These hazards need to be weighed up with the strengths in order to identify if a risk decision has to be made (Kemshall and Pritchard, 1996). I incorporated Brearleys (1982) framework with the assessment triangle (DOH, 2000 and Aldgate and Rose, 2006) during my risk assessment and I identified that identified that there were no general predictive factors for Raj, he was not known to social work prior to this assault and there was no evidence to suggest that there had been any issues in the past. The situational hazards for Raj were; he had been assaulted by Mr Hassam, his behaviour changed and he became withdrawn and angry, poverty and poor housing. His strengths were; he was resilient, he attended and enjoyed school, he openly spoke out about how he felt. The danger for Raj was that he was at risk of further physical and/or emotional abuse for being open and honest with me after his father had warned him not to speak to any professionals. During my risk assessment I had to consider how capable Mr Hassam was of further assaulting Raj and how likely it was to happen. I thought about the severity of the outcomes, for example if I thought there was a chance that the outcome would be death then the likelihood would be lower than if I thought the outcome could be assault. I therefore considered the outcome of my assessment to be that Mr Hassam could assault Raj again and although the outcome could be very serious but I felt that the likelihood of it happening was very low as Mr Hassam had never been violent towards his son before and showed true signs of remorse for his actions. However just because it was extremely unlikely that Mr Hassam would assault Raj again did not mean that I could consider it a low risk. An unlikely event does not become any more likely merely as it could have serious outcomes (Carson and Bain, 2008). During my assessment I referred to The Children (Scotland) Act 1995 as I had a duty to safeguard an d promote the welfare of Raj and his welfare is paramount (SCLC, 1995), and also to the values of the SSSC (2005), particularly codes 4.1 and 4.2. When considering the risk period to work within and how we are basing our assessment we should examine research based upon that period. During my risk assessment I looked at research on domestic violence and child abuse and several studies show that there is a high association between domestic violence and child abuse (physical and emotional); Morely and Mullender (1994) found that between 40-60% of children are physically assaulted by the perpetrator and Epsein and Keep (1994) found that 38% of children who called Childline had been assaulted by the perpetrator. To make the use of the highest knowledge available I also consulted with my practice teacher and PTL and considered their recommendations before making my decision. My risk decision was that it was safe for Raj to remain in the family home with his father, as the potential benefits (e.g. prior to the assault Raj and his father had a good relationship) outweighed the likely harms. I was able to work in partnership with Mr and Mrs Hassan and the school and they were all resources that assisted me with identifying opportunities for Raj. On reflection I felt confident that I had used the resources available to me well, particularly research and knowledge and I could justify my risk decision if harm was to occur and would be able to explain how I came to my risk decision. Reflective practice involves being able to think holistically and in turn this includes exploring facts and feelings, the knowledge and understanding of the situation and being able to look at perspectives subjectively and objectively (Wilson et al, 2008). Schà ¶n (1983), Kolb (1984) and Boud et al (1985) have given reflective practice currency in recent years by developing ideas and using and applying them to reflecting on experience and improving action and practice (Brown and Rutter, 2008). I based my reflective accounts in practice on Kolbs (1984) model of experiential learning. Kolbs model explores having concrete practice experience which we then reflect and observe on, construct new ideas on and then experiment with. His model emphasises the importance of using observation and testing our reflection on what we see and experience and being able to build upon how we experience the real world (Adams et al, 2002). Kolbs model has helped me understand that learning is individual a nd I have to make the connections to existing knowledge, theories and legislation when reflecting on what I have learned. A number of self evaluation questionnaires derived from Kolbs learning cycle with the aim of helping people identify their learning styles. I used Honey and Mumfords (1992) learning style questionnaire to discover that I am a reflective learner; I will watch and reflect, gather relevant data and examine all the possible options available before making a decison. Using my learning style as a reflector and incorporating Kolbs model of learning I was able to confidently make a risk decision for Raj. I used the supervision process to discuss my learning style and how this assisted me when I put plans of action in place with the Hassam family and how I went through the cycle of experience, reflection, conceptualisation and experimentation (Parker, 2006). To conclude this piece of work has proved that in order to have a good risk decision then we must have a good risk assessment along with good risk management and my own practice experience was integrated throughout as an illustrative. Todays risk society has a lack of confidence in professionals and this has an impact when they need to make risk decisions, although after using risk and reflective frameworks along with supervision I was confident to be able to make my risk decision and justify it. With the right policies, procedures and support professionals will be able to make good risk decisions and feel confident when doing so.

Home Theater :: Television Media Entertainment Technology Essays

Home Theater What is a home theater? There are three main components of a home theater system, which are a video display, a source, and sound systems. A basic home theater has a television (at least 27†), a good DVD player, and a surround sound system with at least 4 speakers. Today, we can benefit from recent breakthroughs in electronic such as progressive scan DVD players, flat panel TV and Dolby Digital surround sound. And also the packaged systems make assembling home theater easier than you can imagine. Video Display The video display is the most important component of your home theater. If the picture doesn't look good or isn't big enough, it will lower the impact of the movie considerably. The display is also probably the most expensive piece of a home theater, generally covering half of the total value of the system. There are so many types of displays but the ones to look at are traditional tube TVs for the lower end systems, rear projection TVs for mid range systems and front projection systems for high end system. There are several things you need to look to buy a TV: 1. Fit in the room Screen size is the most important factor in choosing a TV because you'll still want the most immense pictures you can get, which generally means you want to sit 1.5 times the screen's diagonal measurement away from a wide-screen HDTV. For example, a 42-inch HDTV should be placed at least 63 inches from the couch. You need to consider viewing distance too in order to get full performance of your television. 2.Size and display type Most sets up to 40 inches diagonally are direct view, meaning they use the common glass to display the image. Direct-view TVs remain the most popular thanks to their smaller sizes but also because they generally provide a brighter picture with a wider viewing angle than larger rear-projection TVs. The main advantage of a rear-projection set is size because they range between 40 and 82 inches diagonally. 3. Choosing Aspect Ratio If you watch mostly television, like news and sports, you are better off with conventional 4:3 aspect ratio, but if you watch mostly movies, you are better off with wide screen 16:9 aspect ratio. But, it always depends on what you watch and what you need the most. Wide-screen sets also let you stretch the image horizontally to eliminate the window-box bars or otherwise broaden or crop the picture to fill the wide screen.

Rocking The Boat :: essays research papers fc

Throughout history individuals have been plagued with decisions in which they must choose to act in their best interest or act as a martyr, dedicating their lives to the best interests of others. While these choices may seem irrational, selfish, and poorly contemplated from the outside, on the inside there are simply no other options. Paradoxically, the protagonists in both Kate Chopin’s The Awakening and Charles Frazier’s Cold Mountain sacrifice what is precious to them to preserve their emotional and spiritual survival. Chopin’s Edna Pontillier forfeits a comfortable role and style of life in order to maintain her emotional integrity and independence. Set in the late Victorian Era, characterized by a rigid repression of women’s independence, Edna Pontillier finds herself in the center of a male-dominated society, and tries desperately to break through the expected mold of a woman at that time. She finds it particularly difficult to conform to the expected role of Victorian motherhood. Leonce, Edna’s husband, is rather upset by this fact, and often tells Edna that she must become a better mother, more involved in her children’s lives, similarly to their friend Adele, who idolizes her children and worships her husband. "In short, Mrs. Pontillier was not a mother-woman. This mother-woman seemed to prevail that summer at Grand Isle. It was easy to know them, fluttering about with extended, protecting wings when any harm, real or imaginary, threatened their precious b road. They were woman who idolized their children, worshiped their husbands, and esteemed it a holy privilege to efface themselves as individuals and grow wings as ministering angels." (Chopin, 8) Furthermore proving her independence and self-reliance, many parallelisms are drawn between Edna and the language spoken by Mrs. Lebrun’s parrot. It is "language which nobody understood." (Chopin 1) Edna’s constant struggle with dissatisfaction with the social constraints of womanhood led her to a raging internal conflict. Regarded as a possession in her marriage with Leonce, Edna seeks freedom, and searches to pursue it in relationships with other men. One of these men, Alcee Arobin, allows Edna to maintain her liberty, although he is used to having the upper hand in his previous relationships with women. Edna’s short-lived romance with Alcee is the only relationship she has experienced that is not structured by possession. The other man, Robert Lebrun, is the man who holds Edna’s heart. Though Robert is Edna’s only true love, he cannot declare or act on his feelings, for he cannot cease thinking of her as anything other than the possession of another man.

Sexual Empowerment of Women in Behns The Willing Mistress and The Disa

Sexual Empowerment of Women in Behn's The Willing Mistress and The Disappointment     Ã‚   "All women together ought to let flowers fall upon the tomb of Aphra Behn, . . . for it was she who earned them the right to speak their minds." (Woolf 91) Born in 1640, Aphra Behn broke gender stereotypes when she undertook a thrilling (if unrewarded) life as a spy for the Crown, but it was her scandalous career as an author which truly achieved many firsts for women. She was the first woman to support hereself financially by solely relying on the profession of writing, and many readers argue that Oroonoko--her passionate tale about the institution of slavery--was the first English novel. She was certainly one of the first female authors to write candidly about sexuality: in fact, she both broke new ground and challenged conceptions of patriarchal power when she wrote about women's empowerment through sexuality. In her poems "The Willing Mistress" (from her play The Dutch Lover, 1673) and "The Disappointment" (1680), Behn creates situations of bold sexual mischief in which female characters are aware of, comfortable with, and even thrive off their sexuality. Not only was it virtually unheard of for a woman of Behn's time to express herself openly as a sexual being, but it was also explicitly forbidden by cultural precepts for a woman to so aggressively take charge of her own physical desires and satisfaction, as Behn's characters do. Previously, men were in control of most sexual situations--both in real life and in literature. Behn, however, creates a playing field where the traditional roles not only do not apply but are subverted. Urged to seize the day, Behn's willing mistress does so, following her lover into the bushes and co... ...dent women created from Behn's mind refute her era's consensus that ... Behn conveys that women can control their own destiny; they can hold the power. Although these sentiments were certainly ahead of their time, they did help pave the way for future generations of women to express themselves honestly, sexually or otherwise. For that, all women are indeed eternally indebted to Aphra Behn. Works Cited Behn, Aphra. "The Disappointment." The Norton Anthology of Literature by Women. 2nd ed. Eds. Sandra Gilbert and Susan Gubar. New York: Norton, 1996. 112-115. ---. "The Willing Mistress." Norton. 111. Bradstreet, Anne. "A Letter to Her Husband, Absent Upon Public Employment." Norton. 89. Woolf, Virginia. "Aphra Behn." Excerpted from A Room of One's Own. Reprinted in Virginia Woolf: Women and Writing. Ed. Michele Barrett. New York: Harvest, 1979. 89-91.

How does technology effects us? Essay

Look back at our day so far, how many people have we seen ignoring the world around them, not paying attention to the cashier or not absorbing the information in class? In Alina Tugend essay, multitasking can make you lose†¦Um†¦ focus, she reported that multitasking may seem like it saves people time however, it makes people less efficient. It may be true that technology provides us with time-saving devices like push to cars, cell-phones that consist of 4G internet access, and washing machines with built in dyers; however most of us still complain about not having enough time. Like everything else in the world, technology has its pros and cons; it affects peoples’ concentration, writing skills, and what we consider reality; but how exactly is technology affecting the way we think, read, write and live? The development of technology has greatly improved my life but diminished it at the same time. It brought me closer to my family in Trinidad after my father passed, th ree years ago. Logging onto Facebook and Instagram, receiving phone calls, text messages, video chatting kept me fasten into their world 24/7. Although we built such a strong relationship within those years, I was totally disconnecting from what was going on around me and my immediate family. I came to this realization when my little sister’s fifth birthday nearly past without me noticing. The array of technology can be a distraction; in my case, I disengaged myself from the most significant part of my life. Technology can be a distraction during office meetings, daily human interaction, study time and even our concentration; since, we are constantly being interrupted by a phone call, text message or a game notification. Tugend, who wrote, Multitasking Can Make You Lose†¦Um†¦Focus, explained that multitasking actually delays our process rather than accelerating it. We often believe that doing multiple assignments would be effortless but it causes an abundance of stress. Research has proven that the human mind can only focus â€Å"on one or two items at a time† (716). I believe multitasking all depends on the two tasks that is being combined, for example: listening to music while doing math homework seems to me as a good mixture because the music is helping the worker better cope with the math problems. On the other hand, driving while text messaging  can be a distraction because, they activities require full focus and concentration. Focus is very important when it comes to multitasking but also significant when using the internet to search long pieces of writing. In Nicholas Carr’s essay, Is Google Making Us Stupid, he states, â€Å"research that once required days in the stacks or periodical room of libraries can now be done in minutes† (732). The use of technology is very beneficial and time efficient, however does the pros overcome the cons? Carr also discusses the fight against technology to stay focus; since now a day, â€Å"†¦three or four paragraphs is too much to absorb† (733). I reckoned that we must realize that reading doesn’t come natural like speech does. We must keep training ourselves to read no matter if it’s in a paperback book or an online blogging site without distractions. Many teachers and parents believe most teenagers are distracted by text messaging (texting). A variety of teachers dispraise texting because most students use text slag and abbreviation in professional writings, and students do not become conscious of the fact. Also there are parent who think texting negatively imp act their children communication skills. On the other hand, Michaela Cullington, the writing of Does Texting Affect Writing, would most likely disagree. Cullington believes that texting motivate student to write and also it is â€Å"practice in specific writing skills, and an opportunity to gain confidence in their writing† (89-90). After her research she was convince that texting is not interfering in students’ writing skills. I caught myself plenty of times using text slag when writing a paper to turn into class. Fortunately, I have taught myself to text in complete sentence and use correct abbreviation so it wouldn’t interfere with my writing skills. If text messaging doesn’t interfere than maybe games can. Sam Anderson would consider games like Angry Birds or Fruit Ninja as â€Å"Hyperaddictive stupid games,† because it’s a simple thing that becomes addictive and eventually form into a distraction. In Anderson essay, Just One More Game†¦: Angry Birds, Farmville, and Other Hyperaddictive Stupid Games, he illustrates that stupid games were designed to pop up in other occasions. For exa mple, you are doing calculus homework and you receive a text message and suddenly it’s an hour later and you are launching another bird. People are so attached to their phones because game-studies scholars specially design games to be so addictive. Especially now that people can a play game anywhere at the palms of their hands. Using the same addicting  technology can probably â€Å"help solve real world problems like obesity, education and government abuse† (67). Living in a generation where technology affect everything around us including our communication, multitasking, concentration, writing skills, and our view of reality. I believe that technology was made to make our lives easier sadly, it can bring upon more difficulties in our life. Technology will always be prevailing and it is our responsibility to work with it. The majority of people today have become so dependent on technology that they aren’t be able to function a full day without it. I believe it is up to the people of America to decide whether we have taken advantage of technology, or has technology taken advantage of us, without us bei ng aware of it. Works Cited Anderson, Sam. â€Å"Just One More Game†¦: Angry Birds, Farmville, and Other Hyperaddictive Stupid Games.† The Norton Field Guide to Writing with Readings. Richard Bullock and Maureen Daly Goggin. New York, London: W.W. Norton & Company, 2013. 64-69 Print. Carr, Nicholas. â€Å"Is Google Making Us Stupid† The Norton Field Guide to Writing with Readings. Richard Bullock and Maureen Daly Goggin. New York, London: W.W. Norton & Company, 2013.731-744. Print. Cullington, Michaela. â€Å"Does texting affect writing† The Norton Field Guide to Writing with Readings. Richard Bullock and Maureen Daly Goggin. New York, London: W.W. Norton & Company, 2013.87-95. Print. Tugend, Alina. â€Å" Multitasking can make us lose†¦Um†¦Focus.† The Norton Field Guide to Writing with Readings. Richard Bullock and Maureen Daly Goggin. New York, London: W.W. Norton & Company, 2013.714-718. Print.

Digital Fortress Chapter 14

Becker gazed down at the cadaver. Even hours after death, the Asian's face radiated with a pinkish glow of a recent sunburn. The rest of him was a pale yellow-all except the small area of purplish bruising directly over his heart. Probably from the CPR, Becker mused. Too bad it didn't work. He went back to studying the cadaver's hands. They were like nothing Becker had ever seen. Each hand had only three digits, and they were twisted and askew. The disfigurement, however, was not what Becker was looking at. â€Å"Well, I'll be.† The lieutenant grunted from across the room. â€Å"He's Japanese, not Chinese.† Becker looked up. The officer was thumbing through the dead man's passport. â€Å"I'd rather you didn't look at that,† Becker requested. Touch nothing. Read nothing. â€Å"Ensei Tankado†¦ born January-â€Å" â€Å"Please,† Becker said politely. â€Å"Put it back.† The officer stared at the passport a moment longer and then tossed it back on the pile. â€Å"This guy's got a class-3 visa. He could have stayed here for years.† Becker poked at the victim's hand with a pen. â€Å"Maybe he lived here.† â€Å"Nope. Date of entry was last week.† â€Å"Maybe he was moving here,† Becker offered curtly. â€Å"Yeah, maybe. Crummy first week. Sunstroke and a heart attack. Poor bastard.† Becker ignored the officer and studied the hand. â€Å"You're positive he wasn't wearing any jewelry when he died?† The officer looked up, startled. â€Å"Jewelry?† â€Å"Yeah. Take a look at this.† The officer crossed the room. The skin on Tankado's left hand showed traces of sunburn, everywhere except a narrow band of flesh around the smallest finger. Becker pointed to the strip of pale flesh. â€Å"See how this isn't sunburned here? Looks like he was wearing a ring.† The officer seemed surprised. â€Å"A ring?† His voice sounded suddenly perplexed. He studied the corpse's finger. Then he flushed sheepishly. â€Å"My God.† He chuckled. â€Å"The story was true?† Becker had a sudden sinking feeling. â€Å"I beg your pardon?† The officer shook his head in disbelief. â€Å"I would have mentioned it before†¦ but I thought the guy was nuts.† Becker was not smiling. â€Å"What guy?† â€Å"The guy who phoned in the emergency. Some Canadian tourist. Kept talking about a ring. Babbling in the worst damn Spanish I ever heard.† â€Å"He said Mr. Tankado was wearing a ring?† The officer nodded. He pulled out a Ducado cigarette, eyed the no fumar sign, and lit up anyway. â€Å"Guess I should have said something, but the guy sounded totally loco.† Becker frowned. Strathmore's words echoed in his ears. I want everything Ensei Tankado had with him. Everything. Leave nothing. Not even a tiny scrap of paper. â€Å"Where is the ring now?† Becker asked. The officer took a puff. â€Å"Long story.† Something told Becker this was not good news. â€Å"Tell me anyway.†