India Unity Essay Example for Free

India Unity Essay India is land of variety. There is great variety in variety of aspects. The languages, lifestyles, religions, habits, geography, climates, cultures might be different but still they unite us into an invisible frame, the frame of Indianism. Diversity is there in every aspect of India, a land that encloses 1,222,559 sq. meters of land and is home to more than one billion people. As such stats imply, there ought to be diversity, but this does not always imply that there are differences. Rather, India is a land where in spite of so much of diversity, there is still unity. Be it the joining of hands for a mission or against it, Indians have always shows great unity. There have also been instances where people have fought against each other for some reason or the other but such cases do break out in all countries, so India being a niche of such diversity can be excused for once! India wont be India if not for this diversity. If India means Kanchivaram sadi then India also means Pashmina shawl. If India means extreme hot climate of the south India, then India also means the snow covered mountains of the north India. If India means the desert of Rajasthan then India also means the highest rainfall grounds of Assam! Such diversity is also found in the school of minds, where one stands for the motion, another stands against it. This means an added advantage, because while one is looking at the positive aspects of a side, other is hunting for the counterpart negatives. The diversity of India has a great edge over the plain unanimously joint countries! It might be speculated that is just another starry eyed optimist opinion, but then if we didnt differ wouldnt we be non-Indians

Effect of Computer on Design Creativity

Effect of Computer on Design Creativity Are computers taking away the creativity in design? Abstract Computers are an integral part of todays design process. They, computers represent a time and cost saving device that aids designs in rendering shapes and looking at a broader parameter of possibilities than would be possible otherwise. In looking at design, one must be aware that it represents a part of a business process that has competitive considerations. The foregoing includes costs, materials, innovation, uniqueness, distinction, functionality, and utility in gathering clients and well as customers. The contribution of computers in this highly charged environment has helped to drive down costs, while developing innovation as well as approaches to creativity. As such, designers have been able to expand their creativity through the ability of the computer to permit them to look at more possibilities in their search to arrive at solutions that fit within the preceding parameters. As software programs advance on a technological basis, newer and more powerful programs are increasingly taking on more roles in the design process. This represents the foundation of this examination in that generative design has captured a new part of the preceding in that software can generate designs based upon input parameters. Is the preceding innovative? The answer would have to be a yes. Does the foregoing aid in the business aspects in terms of broadening the range of potential possibilities, and helping to keep costs low? Again, yes is the answer. So, computers do have their place in increasing the efficiency and range of design outputs. The question is, has their role starting to become so large that they, computers are taking over the design function, relegating the designer to a computer operator? Chapter 1 Introduction In equating the question as to whether computers are taking away creativity in design, an exploration into the key words of the examination is seemingly in order. The Houghton Mifflin (2007) dictionary defines generative as â€Å"Having the ability to originate, produce, or procreate†. Design, represents the process whereby one creates, fashions, executes and or constructs according to a plan (Merriam Webster (2007). The design process, depending upon the application that is being utilised, represents trial and error in working through the steps to the final design that fits the parameters of the project (Brown, 2001, p. 2). In order to focus in on the context, design as it relates to architecture, construction and new products such as vehicles, and machines shall represent the core of the examination as represented by the question as opposed to the design of clothing, packaging, and related forms whereby the product is designed based upon primarily internal considerations as opposed to client, and or competitive, and market considerations. As brought forth by McDonagh et al (2004, p. 13): â€Å"As established products have become more similar in technology, functionality, price and quality, companies have turned to design to differentiate their offerings through human-centred innovation and to create stronger emotional connections with their customers. More companies have followed the example of Apple, Braun and Philips, recognising design as a strategic function in their business-not one subservient to marketing, manufacturing or engineering† The design process has increasingly become more competitive in terms of differentiating products, and appealing to clients and customers, as â€Å"†¦companies seek competitive advantage through more integrated offerings, with differentiation through all points of customer contact that express their brand† (McDonagh et al, 2004, p. 13). Thus, design is a critical function most businesses, taking differing forms, thus the election to restrict this examination to the aforementioned categories. Rittel and Weber (1973, p. 158) tell us that design problems are more than just complex, they, design problems, represent what they term as â€Å"wicked problems†. Moran and Carroll (1996, p. 4) in elaborating on the aforementioned advise that design problems â€Å"†¦be stated per se or solved in the sense of definitive answers, because the criteria for evaluating goals and outcomes are innumerable, subjective, and conflicting†. They add that (Moran and Carroll, 1996, p. 4): â€Å"Any solution will generate waves of consequences that interact among themselves and with other problems, changing the problem situation in irreversible and unknown ways. Thus, each wicked problem is merely a symptom of further wicked problems; their solutions cannot even be finally evaluated.† In understanding the nuances as well as ramifications of design, it is necessary to note that design is a process that it usually proceeds under conditions that are represented by a high degree of uncertainty, whereby answers to critical facets cannot be had (Moran and Carroll, 1996, p. 4). The design process also is constrained by real world considerations as represented by time, and budgets, thus the boundaries of the process, design, are not unlimited. Thus, in view of constraints, the design process needs both ingenuity as well as creativity. As brought forth by Rittel and Weber (1973, p. 158), the complexity of design problems make design projects too large for on individual to handle as multiple â€Å"†¦technical disciplines are required, as well as management discipline, in addition to creative and integrative skills† (Moran and Carroll, 1996, p. 5). Evidence supporting the technical difficulties involved in the design process is presented by Brown (1998, pp. 45-46), who states the failure rate for new buildings of all types before construction starts is around 10%. For new products, such as electronics and related categories, the failure rate as a result of design is generally within Browns (1998, pp. 45-46) range, however there are exceptions, such as the 33% failure rate that Microsofts new Xbox 360 is experiencing (DailyTech, 2007). Pressures to get it right represent a critical business decision, whether there is a client involved, or if the design process represents an internal process for the companys own products. Thus, time, cost, simplicity, and failure rate minimisation are critical business concerns that the designer must operate within. Thus, the design function, while being creativity, is also subject to the foregoing pragmatic considerations. Generative design software represents the processes whereby new designs can be automatically produced at the push of a button (Mass Customization Open Innovation News, 2006). The preceding represents computer software taking various design specifications and formulating them into a final design matrix based upon the input variables within the software program (Mass Customization Open Innovation News, 2006). The basic forms, patterns and or objects is modified automatically by an algorithm, thus permitting faster trail and error processes (Mass Customization Open Innovation News, 2006). The process of automatic design generation permits thousands of differing designs to be produced, as well as permitting new ones, as the design process is not restricted to the designers imagination (Mass Customization Open Innovation News, 2006). It, generative design is â€Å"†¦ the power or function of generating, originating, producing, or reproducing† (Merriam Webster, 2007). The designing of architecture, and products represent processes that are three-dimensional (Beilharz, 2004). Parameters as represented by colour, texture, utility design input constraints, space, regulations, gravity, materials, heat (in the case of certain products) and costs are the boundaries to the structure as well (Beilharz, 2004). The application of generative systems to design affects the design process phases and â€Å"†¦ integrates the macrocosmic and microcosmic relations of the design system†. For the purpose of clarification, macrocosmic represents â€Å"and large or complex system or structure made up of similar smaller systems or structures †¦Ã¢â‚¬  (allwords.com, 2007), whereas microcosmic is defined as â€Å" a little world †¦ a community or other unity that is an epitome of a larger unity† (Merriam Webster, 2007). This examination shall look at whether or not computers are taking away creativity in design by focusing on generative design, and how it affects the designer. In delving into the preceding, a number of important areas shall be examined in order to understand the design process, what it entails, along with what creativity is and how it is utilised. Chapter 2 -The Design Process In designing a product, building, vehicle or machine the principle output as represented by the design process is its specification as represented by either an annotated CAD rendering and or a schematic (Moran and Carroll, 1996, p. 324). The design rationale represents the why the design is done in the manner that it is, with the foregoing including various types of information (Moran and Carroll, 1996, p. 324). Fry (1999, p. 22) takes a wider view of design, stating that â€Å"†¦ it is one of the most powerful ways to understand how a world is prefigured, made and acts†. Mitchell (1990, pp. 67-71) explains the design process as one that depending upon the context, takes on differing forms. He explains that the most usual computational variations represent transformations, which he terms as unary, as well as binary operations of shapes as represented in either two dimensional drawings, and or three dimensional geographic models (Mitchell, 1990, pp. 68-69). Mitchell (1993, p. 25) states that there are areas in computer-aided design that fail to support creativity, citing shape emergence as an example. Mitchell (1993, p. 25) argues that: â€Å"that design intentions evolve through the course of a creative design process, that these intentions determine how emergent shapes in drawings will be recognized, interpreted, and reinterpreted, and that interpretation (and reinterpretation) of emergent shapes plays a crucial role in directing design explorations. Traditional computer-aided design systems do not effectively support creative design because they provide only very limited and inflexible ways of interpreting shapes.† In elaborating on the foregoing Mitchell (1993, p. 25) adds â€Å"†¦Computer-aided design systems can, however, be developed on an alternative foundation that provides the necessary flexibility†. Jun and Kim (2003) have a differing opinion of the preceding. They argue that shape semantics in CAD systems offer the potential for the emergence of shape semantics. In presenting their view, Jun and Kim (2003) offer the following rationale: â€Å"Drawings in the early phase of design support both continuity and change in a process of design through the use of two different types of drawings (1): context drawings which hold the evolving design decisions, and exploration drawings which are abstracted from the context drawing and act as graphic probes to investigate selected issues. The notion of emergence in design is found here. The ambiguity of the exploration drawings enables a designer to read more out of a drawing than he or she puts into it; that is, to generate new meanings within the design task. Through exploring drawings that are ambiguous until concept formation (2) is reached, various interpretations, in particular in visual aspect, are possible. As a consequence new drawings emerge. This process plays a crucial role to develop conceptual form in architectural design.† The limitations found in CAD systems are based in the fact that they are fixed, in terms of the representation that are embedded (Jun and Kim, 2003). They argue that there are three types of emergence in the architectural field, â€Å"†¦ shape emergence, shape semantics, and style emergence† (Jun and Kim, 2003). The rationale for this brief look at emergent shape semantics is that it represents a visual design concept, thus representing a segment of creativity (Jun and Kim, 2003). An alternative view of computers and creativity is offered by Kathleen Gibson, an associate professor of design and environmental analysis, who believes that computers actually aid in increasing creativity (Winter, 2003). Professor Gibsons unconventional approach is based upon the rationale that the designer can look at a multitude of differing examples, shapes, configuration and styles as part of their own internal creative processes and potential come up with ideas, shapes, and approaches that they may not have worked on without the aide of a computer to run through variations (Winter, 2003). Mathias (1993) advises that the more time and input designers spend on conceptualising through drawing, visualising as well as re-evaluating designs, the more they, in general, generate new information through multiple reviews and analysis, also resulting in reasoned explanations concerning problems, and proposed solutions. Lawson (1980, p. 6) advises that design represents a mental process that is highly organised, that is capable of manipulating differing as well as many kinds of information. He adds that the preceding blends that data into a set of ideas that is coherent, and finally results on the generation of ideas related to the process (Lawson, 1980, p. 6). Design, as shown throughout this examination, is a process, involving creativity, mental reviews, the manipulation of data and ideas, along with design possibilities, and then synthesising the process toward the end solution. In looking closely at the foregoing, it can easily be deduced that the limitations of the foregoin g are represented by the breathe of experience, exposure and mental foundation bank of the designer. This thus further explains why Mathias (1993) makes his statement that the more time designers spend on ‘drawing, visualising as well as re-evaluating designs, the more they, in general, generate new information through multiple reviews and analysis, the more they see other approaches, solutions and ways in which to accomplish the task, thus heightening their creativity. The explanation of the design process foregoing represents the use of non-creative facets, such as a systematic approach to the design issues and problems (Browne and Smith, 1993, pp. 1209-1218). Hertz (1992, pp. 396) brings forth what he terms as the mental synthesis-creation cycle, which represents the process of exploring alternatives in the development of the design that solves the end product and or building / structure. This represents the same approach, in general conception, as offered by Lawson (1980, p. 6). Chapter 3 Creativity Creativity, as stated by Turner (1994, p. 21) represents â€Å"†¦ the bringing forth of an original product of the human mind †¦Ã¢â‚¬ , which also has what he terms as its â€Å"†¦ mundane side as well†. The creative process is present in all of us. It represents our approach to problem solving for issues that we have not experienced before, through utilising past knowledge combined in new ways to result in a solution (Turner, 1994, p. 21). In equating creativity Weisberg (1986, p. 10) tell us that a solution is creative if it has significant novelty, and is useful. In order to qualify as creative, the new approach, and or solution must be new as well as different from those that preceded it, and, those differences need to be significant (Weisberg, 1986, pp. 12-13). The utility, usefulness, is the second facet present in a creative solution, it must solve the problem in a new, and better manner than those that preceded it, that can include at less cost, fewer parts, faster response time, etc. (Weisberg, 1986, pp. 12-13). In the design process, Cross (1986, p. 15) advises that the special ways in which designers think is embedded in their visual thinking process. Their process of creativity is based in lines, relationships, drawings and formulas representing their approach to problems (Cross 1986, p. 17-18). It must be noted that Dorst et al (1991, pp. 39-40) brought forth that the field of study in terms of design thinking was found lacking in three important areas. Dorst el al (1991, p. 42) identified the preceding as 1. a lack of research clarity, 2. lack of consistency in the tools, methods and theories utilised, and 3. the lack of a common unifying purpose. In defining design thinking, Dorst et al (1991, p. 43) advise that it represents the totality of cognitive activities during the design. The preceding is called ‘design reasoning that is distinguished from inituition as a result of the conscious as well as predictable use of rules representing inference for the outcomes of using and mani pulating design information. The preceding brings forth the facet of intuition as an important part of the process (Dorst et al, 1991, p. 46). It, intuition, resides in the subconscious, which represents the synthesis of experiences, ideas, new approaches and concepts to result in approaches (Dorst et al , 1991, p. 46). In subjecting the preceding to experimentation, Dorst et al (1991, p. 46-48) utilised four designers in a reasoning task that was comprised of a series of architectural drawings for buildings of modest size containing 9 errors. The designers had to locate the errors in a think aloud mode to let their processes be known, which was being recorded, and also making sketches, along with marking the drawings (Dorst et al, 1991, p. 46-48). Later analysis of the recordings resulted in the formulation of two groupings. One represented the mental process of new design generation through changes in the drawings and designs (Dorst et al, 1991, p. 46-48). The second category revealed that the verbal statements made led to new information generation that built upon prior statements they uttered aloud (Dorst et al, 1991, p. 46-48). Their prior histories and experiences represented the database to ascertain the errors, and pose solutions. In commenting upon this Dorst et al (1991, p. 46-48) noted th at the resulting changes were not novel, nor creative, but did solve the errors. The purpose of the foregoing is that the designers were only given a limited time frame in which to conduct their reviews, which demonstrated visual thinking as well as visual reasoning processes (Dorst et al, 1991, p. 46-48). The importance of the preceding is that it brought forth the manner in which designers use visual thinking to stimulate their processes. Wiggins and Schon (1992, pp. 45-51) provide illumination to this direction in advising that drawings and representation represent the manner in which designers communicate, not only with themselves, they also use it to communicate with others in furtherance of their ideas. Important in the preceding, is that designers employ visual thinking that consists of three types of visual imagery. The preceding is represented by what they see, what they imagine, and what they draw (McKim, 1980, p. 26). The foregoing is a highly important point in this examination, thus the rationale for the exploration these areas. Drawings and other visual representations aid in the stimulation process. It is the combination of these factors that are utilised by designers in the process of creating new designs and creative solutions. Further elaboration on this process is important in understanding the manner in which visual representations aid the design, and creative processes. Wiggins and Schon (1992, pp. 102-122) tell us that drawings help the designer in seeing, interpreting what can be potentially moved, re-evaluated, and or transformed. Tovey (1989, pp. 26-31) argues that seeing is an important part of the design process as it aids the designer in imaging, which prompts creativity and drawing. The preceding three processes work together to encourage visual thinking. The connection between the use of computers as an aid in this process will be further explored to draw upon examples that either support or refute if generative design impacts the designer, and if it aids or diminishes creativity. Herbert (1988, pp. 26-40), in his exploration of the design process states that once a designer begins to perceive the task, images, and or pictures representing solutions start to be generated in the designers mind. He adds that in the beginning of the process, these images, pictures, ideas and thoughts are not really well defined, thus needing further development (Herbert, 1988, pp. 26-40). The next stage on the process moves towards more refinement as potential solutions, a means to these ends and the routes and ideas as to how to arrive there start to develop (Herbert, 1988, pp. 26-40). The foregoing was brought forth by Mathias (1993) who advised that designer tends to utilise drawing as a means to move to developing their first ideas, and in later stages of the process, drawings are utilised for synthesis. This is what Mathias (1993) describes as stepping back and then forward in the mental processes to be engaged, and then reflect on what has been thought, to re-engage the pro cess again. Mathias (1993, pp. 113) diagrams the preceding as follows: Diagram 1 Designers Framework for Idea Development (Mathias, 1993, p. 113) Analysis of problem statement Holistic solution concept Problem Solution concept Convergence Exploration Validation Solution Mathias (1993) and McKim (1980) follow the same conceptual foundation in terms of imagery (drawings), representing a foundational facet in the design process. The preceding is part of the creative mental synthesis process whereby ideas begin as a result of engagement with the project. Verstijnen (1997), conducted experiments based upon the research methods of Finke (1990) as well as Helstrup and Anderson (1993). The six experiments conducted by Verstijnen (1997) used undergraduate industrial design engineering and psychology students to investigate emergent figures and drawing / sketching relationships. The experiment called for some students to utilise sketching and drawing, and the others to use mental processes only in resolving the problem of wire frame drawings that had figures embedded (Verstijnen, 1997). The second experiment represented the investigation of creative mental synthesis tasking asked to generate shapes that were creative based upon a cube, sphere and cone. The results indicated that the restrictions of memory was not a motivating factor in sketching as an aid in creative mental synthesis experiments (Verstijnen, 1997). In the reinterpretation of shapes, the task proved difficult based upon the utilisation of imagery alone, thus suggesting an aid was needed, drawing (Verstijnen, 1997). She added that sketching for use in synthesis may not play a significant, and or important role, however in creative mental synthesis, sketching helped to yield a higher number of creative forms (Verstijnen, 1997). A comparison of the engineering students, and non-students was not included in her study (Verstijnen, 1997). From the foregoing, the data thus far reviewed seemingly indicates that visual thinking represents an important facet of creative mental synthesis, which is important in the design of new objects. The foregoing also seems to point to the fact that the manipulation of visual images in a mental mode is an important aspect of mental creative synthesis. In addition, the preceding seems to also point to the fact that drawing is important in supporting the process of creative synthesis in new design. The use of the word seemingly and seem are utilised as there is little to no empirical evidence to support the preceding, thus the views are based upon the views as expressed by a number of authors and researchers. Chapter 4 Generative Design In generative design, the description and design of relationships and components is accomplished by the use of powerful algorithms (MacDonald et al, 2005). These algorithms permit users to manipulate geometry and dynamically model through the application of rules that capture relationships in geometric features, along the defining of complex forms (MacDonald et al, 2005). Under a generative design program, the designer, utilising a CAD tool that specifies parameters and the restraints, the program then generates a number of outcomes that the designer then utilises as input, and or for another generation of shapes, forms or approaches, solutions (MacDonald et al, 2005). The generative design approach is applicable in the whole design process, once the parameters have been input and modified (Gatarski and Pontecorvo, 1999). Generative design has been employed in the development of cars, cell phones, structures and other areas. CAD and Design Automation software has long been utilised to optimise the assembly of differing design elements. Through the use of visualisation software, designers are able to see the results without having to build prototypes. In the generative design methodology, outcomes are rendered after a detailed and high level of input specification, thus saving time over the CAD and Design Automation approach that requires time in that each instance of an idea has to be imagined, manually expressed, and evaluated (Gatarski and Pontecorvo, 1999). On the most basic level, generative design systems consist of four elements (Gatarski and Pontecorvo, 1999): design representation, generation engine, expression engine, mechanism for evaluation and selection of the new generated specifications The following, further explains the workings within these steps (Gatarski and Pontecorvo, 1999): design representation, The design representation are input as a set of parameters, along with the corresponding constraints. In the preceding, the parameter sets represent the genetic design elements, defining the form as well as structural aspects. The constraint set controls the aesthetic as well as the fabrication facets, meaning the limitations as afforded by the material dynamics to be utilised. The foregoing constraints, and rules thus place a limit on the range of the generated design. generation engine This aspect of the generative design process represents the internal process that generates the new design descriptions. It represents a set of prototype design descriptions that are also termed as ‘parents, and then utilises the algorithm to take the parameter sets and combine them into new descriptions, or children. In general, the algorithms use operations that are based upon the concepts found in the mutation and crossover aspects found in genetics. The preceding thus ensures that the descriptions, children, are drawn from the parameter values as contained in the prototype set. expression engine In the process of generative design, the expression engine interprets the descriptions, rendering them into a structure or model. The process can be set so that it is modular, thus permitting it to be able to support a host of alternative interpretations. mechanism for evaluation and selection of the new generated specifications The generative design approach is based upon having an objective function that evaluates the fitness output of the specifications of the design. In creative design area this facet is usually embedded in the human using the system. The foregoing is termed the human user in the loop as it provides a more intelligent and analytic capability as opposed to computed functions. The preceding is described as being a better match for the ranges of possibilities offered by the generative approach. Generative design offers the ability for designers to try as many ideas as possible, a critical facet when time is a constraining factor. It permits designers to thus present a variety of solutions that can thus be evaluated internally and or through focus group testing to refine the process and move to the final design variables. The foregoing recognises the fact that the design process has always been a process that is subject to the acceptance of the end user, which is either the client, or the general public. It, generative design, thus represents a means to work through a wide variety of approaches to achieve faster approximations of what will work. Chapter 5 The Role of Computers If computers are potentially limiting, and or taking away design creativity, it would seem appropriate to example the role of computers in the design process and attending questions. In the pragmatic sense, unlimited time to render and use a design is not a function of the design process. Whatever the function, be it architecture or products, there is a limited time frame for the design process to take shape, evolve, become proven through mathematical, structural, component material and cost / build considerations. The preceding represent constraints on the process that are real as well as binding. Computers have advanced the process of design through software such as CAD that enable users to perform a number of functions in time saving fashion. The preceding takes in such functions as (SAP, 2006): wire frame geometry creation, solid modelling, 3D parametric, freeform surfaces, automated assembly design, engineering drawings from solid models, re-utilisation of design components ease on design modification and the generation of multiple versions, automated generation of design components, design simulation without prototype building, data exchange, as an aid in visualisation process for areas such as rotation, shading, etc., design studies as a few of the more important, or used functions. In equating this segment of the examination, the question of creativity resurfaces. As previously mentioned by Turner (1994, p. 21), creativity brings  ·Ã¢â‚¬ ¦ forth of an original product of the human mind †¦Ã¢â‚¬ . In the design process, it aids in the production of multiple view, as well as ideas. Gero (1991) indicates that there are, in his view, five creative design processes that result in the introduction of new variables in the design prototype. These are (Gero, 1991): Combination Mutation Analogy First Principles, and Emergence The following sets forth the preceding in more detail Combination Gero (1991) tells us that ‘combination represents the combining of two or more prototype designs, with the new resulting variable introduced into the original from the former. Within this process, mutation represents the alteration of variables as accomplished by external agents (Gero, 1991). Mutation Within the preceding process, mutation represents the alteration of variables as accomplished by external agents (Gero, 1991). Through mutation, new variables can result due to extrapolation, and or combination of the variables (Gero, 1991). Analogy This is also known as ‘case-based reasoning, representing structural elements applied by one prototype design into another design problem, as well as the use of past processes for a new design problem (Gero, 1991). First Principles The above is a process whereby new relational knowledge is logically derived from the behaviour of existing structures without the knowledge of the prototype (Gero, 1991). Emergence The process of inferring structural elements that are new through the extension of elements that exist, represents emergence (Gero, 1991). Indurkhya (2002), in defining creativity from a different perspective, provides insight into Geros (1991) concept of new variable introduction. H

Whether Business and the Economy Across the Globe :: Economics Trade Imports Marketing Essays

Business and the Economy Across the Globe Task - 1 Discuss whether firms like Rechem should be allowed to "import" chemical waste from overseas to be disposed of here in the U.K. ANALYSIS Rechem have thirty years of experience in solving environmental problems caused by a wide range of hazardous and toxic materials. Their range of services included the following:  · Waste Management  · Logistics  · Incineration  · Project Management  · Recycling  · Environmental Monitoring DISCUSSION Not all Countries in the World have the ability or the technology to safely dispose of chemical waste such as polychlorinated biphenyl’s (PCBs). It may be argued that it is more desirable and safer to move the waste to another country for disposal. The alternative of storing the waste for long periods of time may result in serious problems and consequently cause pollution effecting living organisms beyond the host countries borders. There has been instances where one country’s pollution problems in turn pollute neibouring countries such as Mercury used in manufacturing process eventually leaking into river systems (This happened between Canada and the United States). Another example is acid rain caused by burning fossil fuels without capturing or burning off the chemicals that cause acid rain, for example, UK’s industrial plants affecting the forests of Germany and Scandinavia. Chemical pollution has no boundaries, dumping chemical in the North Sea by the northern European countries not only destroys the food chain in that area, but, with tidal and ocean currents, this pollution can affect organisms and eventually human beings on the other side of the globe. Pros:- of firms like Rechem importing & disposing chemical waste: 1. Helps the environment because it discourages landfills. 2. It breaks chemicals down at high temperatures not a low normal temperatures which can be dangerous. 3. It can break down PCB’s which are extremely dangerous. 4. Brings money into the British economy. 5. Supplies jobs for workers. 6. Licences for this type of disposal is limited and helps the environmental factor of other countries that do not have this process and have to resort to landfills or burning the waste at dangerously low temperatures like, America and Germany. 7. In the eighties many articles on "green" companies and industries featured Rechem 8. Rechem were praised by the Minister for the Environment at the time as "true friends of the earth" 9. Rechem were acknowledged as a world leader in the safe incineration of dangerous

Biography of Gottfried Wilhelm Leibnitz :: Gottfried Wilhelm Leibnitz Mathematicians Essays

Biography of Gottfried Wilhelm Leibnitz Gottfried Wilhelm Leibnitz was born on the July 1, 1646 in Leipzig, Germany and died on November 14, 1716 in Hanover, Germany. He was the son of Friedrich Leibnitz, a professor of moral philosophy at Leipzig. Friedrich Leibnitz was evidently a competent though not original scholar, who devoted his time to his offices and to his family as a pious, Christian father. His mother was Catharina Schmuck, the daughter of a lawyer and Friedrich’s third wife. Friedrich died when Leibnitz was only six years old and he was brought up by his mother. Certainly Leibnitz learned his moral and religious values from her, which would play an important role in his life and philosophy. At the age of seven, Leibnitz entered the Nicolai School in Leipzig. Although he was taught Latin at school, Leibnitz had taught himself far more advanced Latin and some Greek by the age of 12. He was motivated to read his father's books. As he progressed through school he, was taught Aristotle's logic and theory of categorizing knowledge. Leibnitz was clearly not satisfied with Aristotle's system and began to develop his own ideas on how to improve on it. Later in life Leibnitz recalled that at this time he was trying to find orderings on logical truths, which, although he did not know it at the time, were the ideas behind rigorous mathematical proofs. As well as his schoolwork, Leibnitz studied his father's books. In particular he read metaphysics books and theology books from both Catholic and Protestant writers. In 1661, at the age of fourteen, Leibnitz entered the University of Leipzig. It may sound today as if this were a truly exceptionally early age for anyone to enter university, but it is fair to say that by the standards of the time he was quite young but there would be others of a similar age. He studied philosophy, which was well taught at the University of Leipzig, and mathematics, which was very poorly taught. Among the other topics, which were included in this two year, general degree course were rhetoric, Latin, Greek and Hebrew. He graduated with a bachelors degree in 1663 with a thesis De Principio Individui (On the Principle of the Individual) which emphasized the existential value of the individual, who is not to be explained either by matter alone or by form alone but rather by his whole being. Biography of Gottfried Wilhelm Leibnitz :: Gottfried Wilhelm Leibnitz Mathematicians Essays Biography of Gottfried Wilhelm Leibnitz Gottfried Wilhelm Leibnitz was born on the July 1, 1646 in Leipzig, Germany and died on November 14, 1716 in Hanover, Germany. He was the son of Friedrich Leibnitz, a professor of moral philosophy at Leipzig. Friedrich Leibnitz was evidently a competent though not original scholar, who devoted his time to his offices and to his family as a pious, Christian father. His mother was Catharina Schmuck, the daughter of a lawyer and Friedrich’s third wife. Friedrich died when Leibnitz was only six years old and he was brought up by his mother. Certainly Leibnitz learned his moral and religious values from her, which would play an important role in his life and philosophy. At the age of seven, Leibnitz entered the Nicolai School in Leipzig. Although he was taught Latin at school, Leibnitz had taught himself far more advanced Latin and some Greek by the age of 12. He was motivated to read his father's books. As he progressed through school he, was taught Aristotle's logic and theory of categorizing knowledge. Leibnitz was clearly not satisfied with Aristotle's system and began to develop his own ideas on how to improve on it. Later in life Leibnitz recalled that at this time he was trying to find orderings on logical truths, which, although he did not know it at the time, were the ideas behind rigorous mathematical proofs. As well as his schoolwork, Leibnitz studied his father's books. In particular he read metaphysics books and theology books from both Catholic and Protestant writers. In 1661, at the age of fourteen, Leibnitz entered the University of Leipzig. It may sound today as if this were a truly exceptionally early age for anyone to enter university, but it is fair to say that by the standards of the time he was quite young but there would be others of a similar age. He studied philosophy, which was well taught at the University of Leipzig, and mathematics, which was very poorly taught. Among the other topics, which were included in this two year, general degree course were rhetoric, Latin, Greek and Hebrew. He graduated with a bachelors degree in 1663 with a thesis De Principio Individui (On the Principle of the Individual) which emphasized the existential value of the individual, who is not to be explained either by matter alone or by form alone but rather by his whole being.

Inferior to Society Essay -- Character Analysis, Beneatha

Lorraine Hansberry depicts her character of Beneatha as being inferior to the rest of the human race through the use of the name â€Å"Beneatha†, depicting the hardships of African Americans. Hansberry accomplishes her depiction of the hardships through the use of discrimination, both stereotypical and racial, against the African American race and through the general inferiority of her character of Beneatha, in her play, A Raisin in the Sun. For instance, when Hansberry introduces the character of Beneatha, she illustrates that Beneatha is inferior to Ruth in physical appearance (35). Hansberry writes: "([Beneatha] is not as pretty as her sister-in-law)"(35). This passage illustrates the hardships of the African American race through the character of Beneatha, portraying the inferiority of Beneatha through the name Beneatha. This passage is significant because it shows Beneatha as inferior before she can even show her personality, therefore identifies her as inferior. Si nce she is labeled as inferior, society treats her in a childlike manner and she does not receive the same general rights and treatment as other members of society. When Beneatha enters the scene, she looks up at the ceiling, symbolizing her inferiority (46). Hansberry writes: â€Å"(Beneatha comes in brushing her hair and looking up to the ceiling, where the sound of a vacuum cleaner has started up)†(46). This passage depicts the general inferiority of Beneatha. This passage exhibits the fact that Beneatha is inferior to the rest of society. Although she is literally beneath the people on the floor above her, she is also figuratively below them. This passage is significant because it depicts the reality of the true superiority of society versus the character of... ...even looking up) In your heart of hearts you are much drunkard. BENEATHA: (To encourage WALTER, thoroughly caught uwith this side of him) OCOMOGOSAIY, FLAMING SPEAR! RUTH: (Having had enough, and embarrassed for the family) Beneatha, you got company—what's the matter with you? Walter Lee Younger, get down off that table and stop acting like a fool. RUTH: He's had a little to drink†¦I don't know that her excuse is. GEORGE: Oh, don't be so proud of yourself, Bennie—just because you look eccentric.(78-80 In this passage, George tells Beneatha that she needs to stop being so obsessed with her heritage. This passage is significant because it illustrates Beneatha as a child by displaying her childlike obsession with her heritage. Beneatha is shown as being beneath other people and as a child through her fascination with her family origin.

Krispy Kreme Case Analysis Essay

Krispy Kreme does not have one particular target market and are not  categorized as one business type; they have various tactics to appeal to various markets. They also target school, local organizations and businesses. He primary market, those ranging from the ages 20-30 years old, are Krispy Kreme’s main focus. This is where the majority of their business comes from. These are your everyday commuters who desire a sweet treat, or coffee to help outlast a long day at work. Their purchases may be small or cheap, but business is usually consistent, as are sales. Krispy Kreme appeals to schools as a fundraising opportunity. Doughnuts are very inexpensive when purchased in bulk, and easy to sell. Krispy Kreme offers certificates, coffee, partnership cards, and doughnuts to schools to raise money. Gift certificates are less of a burden, and those selling them don’t have to deal with ordering and delivering doughnuts after you’ve made the sale. This makes things easi er for both the customer and fundraiser. Offering fundraisers to schools increases awareness of Krispy Kreme, serves as sales promotion, whilst building a relationship with schools and the community. The money earned from these fundraisers are usually used to improve the school or purchase uniforms as shown on Krispy Kreme’s â€Å"Fundraising† page on their site. Local organizations and businesses purchase Krispy Kreme’s products for retailing. Competitors Competitors Competitors Starbucks McDonalds Nestles Dunkin Donuts Einstein Bagels Panera bread Starbucks Bruegges Enterprise Dunkin Donuts Yum! Brand Starbucks International Dairy Queen Starbucks target Audience- Affluent customers Well educated customers White Collar Patterns The age of the target market was between 25 and 44. Eventually, the company decided to expand its target market to include young, less-educated and low-income consumers. A large portion of coffee drinkers is found in urban areas of the United States. It is because most of educated and working professionals live in the urban areas. It is because most of educated and working professionals live in the urban areas. With the rapid expansion, Starbucks targeted customers of every age group. Einstein Bagels That target market is younger than other coffee shops and is aimed at people between age 25 and 50. Dunkin Donuts Dunkin Donuts target market is the blue collar workers (18-60) of America who likes the quick service that Dunkin Donuts provides. Also within its target market are kids, highly due to its name. Recently Dunkin Donuts has been targeting the market of affluent women and professionals Krispy Kreme Strengths 1. Company brand image and reputation. 2. Proprietary doughnut-making equipment, and capability to supply to  franchises at profitable prices. Krispy Kreme Weakness 1. Competitors are larger and well established in their markets, tougher to compete head to head once newness is over. 2. Core product does not incorporate health/weight conscious consumers. Krispy Kreme Opportunities 1. Add more stores in current target markets to make it convenient for all areas. 2. Attract a broader range of customers and sell more products to existing customers by enhancing present menu offerings, esp in coffee and coffee drinks. Krispy Kreme Threats 1. Competitors concerned about KK rapid growth and market share gains and erosion of their own market positions, may well be compelled to rejuvenate their product menus, this would be costly battle for KK. 2. Consumer habits changing One strategy alternative in each cell matrix would be One strategy in strengths/ Opportunity would be to increase marketing, incorporating social networks One strategy in Weakness/Opportunity would be growing new markets or increase the product line to incorporate healthier choices. One strategy in Strength/Threats promoting healthier product line One strategy in Weaknesses/Threats would be to avoid developing existing markets by existing products Strategic issues with supporting data: 1. Krispy Kreme management should meet with franchisees and explore again the  plans for opening new stores, it would seem to make sense to accelerate the pace of new stores openings at least in those areas where the enthusiasm for the products has been so great. 2. Adapt to consumer desires. Increase product development, i.e., healthier choices. 3. Lack of corporate governance. Matching the Strengths of franchise opportunities, Krispy Kreme is highly favorable. Its resource strengths and competitive assets easily outweigh its resource weaknesses and competitive liabilities. The company has plenty of opportunities it can pursue to continue to grow more rapidly, the company should have little difficulty opening several hundred more stores, Dunkin Donuts has 3,600 in the US alone versus just over 180 for KK. Their strategy is a solid one, with competitive advantages in product quality, product appeal, brand reputation, and ability to attract high caliber franchises because of vertical integration into doughnut making equipment, doughnut mixes and coffee. The threats are still in the foreground, the product excitement being created by Krispy Kreme could end up helping grow the market for doughnuts and help over come the relatively flat demand for doughnuts that has prevailed. A costly battle for market share can be avoided. #4 Three of Krispy Kreme’s strategic issues using SMART format: According to Return on Assets, there has been an increase from 1998, with a slight decrease due to further investment of assets in 2002. The company is converting money into net income, therefore, quickly enough to add more stores in the mix. Return on Equity offers a profit generating efficiency for investors. The decrease in 2002 is because of improvements in company’s operations. Intangible assets are also excluded like the brand name. SMART goal: Specific: To create shareholder wealth through an ambitious growth strategy meanwhile, using a thorough marketing strategy Measurement: increasing brand awareness through strong positioning and optimizing distribution channels, therefore, creating brand loyalty Aggressive: maintain a healthy increase in net sales, 10-20%, while optimizing efficiency. Realistic: Increase the number of franchise stores to bring brand awareness and loyalty Time-bound: capitalizing on the growth of the market, increase store  franchises over the next three years

Portrayals of Minorities in pop culture

1. ) One example of how minorities are portrayed in popular culture is on the TV show, The Simpsons. Apu Nahasapeemapetilon is portrayed as your typical Indian convenience store owner. He speaks in Indian English, owns a convenience store, his marriage was arranged, he has a strong work ethic, and he has a large number of children. He is portrayed this way in every episode that he appears in. The portrayal is negative and is stereotyping people who are Indian. The portrayal reinforces the stereotypes that Indian immigrants own convenience stores and work all of the time. Personally, I would not want other members of societies receiving this image of me as a member of this group because it paints a negative picture of the culture. It stereotypes all Indian immigrants as the same. This reinforces the idea that race plays a major role in status in our society and people are looked at differently based on their race. On the show, this stereotype is perceived as humorous and people who watch this show are receiving little knowledge about the actual group of people. 2. ) An example of how minorities are portrayed in popular culture is shown on the TV show, Cops. This show portrays people who are minorities to be violent, drug dealers, unintelligent, poor family members. Almost all of the drug deals that go on and the violence that goes on is between blacks and other minorities. This is a negative portrayal and it reinforces these certain stereotypes. It showcases blacks and other minorities as being violent and involved with drugs. If I were a member of this group, I would not want other segments of societies receiving this image of me as a member of this group because I would not want to be known as an unintelligent, violent drug dealer who can't get along with his family. It is a very negative stereotype. 3. ) On the TV show, South Park, minorities are negatively portrayed in almost every single episode. One episode in particular is called, â€Å"The Passion of the Jew. † This episode was a satire of the movie, The Passion of the Christ, but also made fun of people who are Jewish. This show negatively portrays people who are Jewish as being cheap, overprotective, nagging, and pokes fun at their religion. It reinforces these stereotypes and also goes further by negatively talking about the Jewish religion and their practices. If I were a member of this group, I would not want other segments of societies receiving this image of me as a member of this group because it portrays me as being stingy and makes jokes about my religion. Based on this portrayal, it seems as though some television shows are able to make fun of any race that they please. 4. ) Another example of how minorities are portrayed in popular culture is in the movie, The Perfect Score. One of the students in the movie who is Asian is portrayed as being a drug user but extremely smart. He uses drugs all of the time but is still able to get good grades in school. This is a negative portrayal of people who are Asian and it stereotypes them as drug users and of having above average intelligence. If I were a member of this group, I would not want other segments of societies receiving this image of me as a member of this group because I would not want to be perceived as a person who smokes marijuana and is a stoner. I would want to be portrayed as intelligent but not a drug user. Based on this portrayal, I feel that race plays an important part in statuses because different races are thought to be of higher statuses. 5. ) An example of how minorities are portrayed in popular culture is on the TV show, Beverley Hills 90210. People in this show, who are mainly white, are viewed as being extremely rich, affluent, greedy, and having a ton of drama in their lives. It stereotypes the typical â€Å"California teenager. † It is a negative portrayal of young people who live in California. It reinforces the stereotypes of the typical California surfer and teenager. All teenagers who live in California don't act this way, but they are portrayed as being like this. This portrayal can also be seen in newer shows such as Laguna Beach and The Hills. If I were a member of this group, I would not want other segments of societies receiving this image of me as a member of this group because I would not want to be seen as a rich snob who relies on their parent's money. I would want to just blend in with society. I feel that people who are white are sometimes given a higher status then people of other races. . ) In the movie Soul Man, minorities are portrayed as having an easier time of getting into college. In this movie, a student who wants to get into a particularly difficult school dyes his skin a darker color so he can hopefully get in. This is a negative portrayal of minorities because it is saying that they have an easier chance of getting into college because they are a minority. It reinforces the stereotype that colleges have a certain quota to fill and that minorities sometimes do have an easier time getting into a certain college. If I were a member of this group, I would not want other members of societies receiving this image of me as a member of this group because I would not want them to think that I got accepted into a college because of my race. I would want my acceptance into college to be viewed as an achievement because I worked hard in high school. This portrayal sends out the message that minorities are sometimes given extra benefits because of what colleges have to do. 7. ) An example of how minorities are portrayed in popular culture is on the TV show, Family Matters. This show is about a middle-class African American family that lives in Chicago. I believe this show is a positive portrayal because it shows a functional black family with goals and aspirations. Other shows that I have watched unfortunately present blacks as violent people who are often linked to crime. They are portrayed as â€Å"gangsters† in many shows, and it seems as though their only aspirations are to become a rapper or a basketball player. However, in Family Matters, there is a middle class black family that is portrayed in a very positive light. There are no violent acts being committed, and as a matter of fact, the father is a policeman who helps prevent violent acts. If I were a member of this group I would approve of this portrayal because this family is not being portrayed as a dysfunctional black family. This show was able to incorporate comedy in the episodes without being demeaning. 8) In the movie Mean Girls, there is a group of Asians called the â€Å"Asian Nerds† and they are constantly studying. Asians are often linked with the stereotype that they are superior students. I feel as though this could be both a negative and positive stereotype. It is good to be seen as successful and smart but not all Asians should be perceived to be academically exceptional. I would not want to be perceived in this way because then it seems like you have an expectations to live up to and what if you cannot live up to them? What if you are Asian and you are not a â€Å"genius†? I would constantly feel pressure and if I was unable to live up to that expectation I can only imagine the anxiety that I would feel and I would most likely be embarrassed to get help. It is true that it is positive thing to be seen as a successful race but it comes along with too many expectation and negative stereotypes such as being uninterested in having fun. ) This cover of Vogue magazine can be interpreted negatively because some people believe that Lebron James is standing in a gorilla-like pose. This cover can be traced back to days when scientists were claiming that blacks are linked to apes. This is a negative stereotype because it dehumanizes black. Researchers say that even though depictions of blacks as apes have disappeared; it is still in the subconsciouses of others. Society may be more likely to link blacks with crime and violence because they still don't accept blacks as fully human. The fact that blacks are still being associated with apes is very distressing. Clearly, if I were in this group I would not want other members of society viewing me as â€Å"ape-like. † It dehumanizes blacks and links them to negative actions such as crime. 10. Another example of how minorities are portrayed in the media is through a show called The Office. In one of the episodes, the main character Michael is forming a basketball team and he immediately recruits one of his employees named Stanley, because he is black. He automatically assumes that Stanley is good at basketball because he is black even though Stanley tries to tell him otherwise. However, Michael clings onto the stereotype that all blacks are good at basketball and in the end he is proved wrong. I do not think this is a good stereotype because you cannot group everybody that belongs to a certain race into one category. Not all blacks are going to be good at basketball, just like not all Asians are going to be smart. We develop pre-conceived notions about people based on their race, and it is not good. I would not want other members of society perceiving me in this way because the stereotype does not hold true for all blacks.