Chilean Copper Mine Collapse and Rescue Essay Example for Free

Chilean Copper Mine Collapse and Rescue Essay The tragedy with the happy ending all started August 5, 2010, when the mine collapses 33 workers are trapped at the Chilean copper mine 300 meters below the ground level. Safety codes require ladders for mines, and the miners attempted escape through the ventilation shaft system, but the ladders were missing. The mining operation soon became known as â€Å"Camp Hope,† for the next 69 days the dry, dusty, work site would be where rescue workers, officials, authorities, media, friends, and family of the trapped miners would call home. A small copper operation in northern Chile, owned by Minera San Esteban Primera, is in what many call the driest place on earth, the Atacama Desert. Some years earlier, the mine was shut down because of several accidents, including one death in March 2007. Later, in 2007 the mine reopened and the mine workers went back to mining the copper. In August 2010 when the accident occurred there were two groups of workers in the mine; the first group were near the entrance could escape, but the second group were so deep in the mine escape though the normal entrance was not an option. The workers quickly went to the ventilation shaft system only to find the ladders were not in place as requested in the orders written by the federation of Chilean mining workers and the confederation of copper works when the mine reopened. By the time rescue teams could respond these shafts were not accessible because of ground movement cause by the cave-in. â€Å"The Chilean government took over the rescue effort on the first day and poured enormous resources into the operation† (Kofman). By day two, rescuers had started drilling â€Å"boreholes† in the attempt to locate the miners and allowing listening devices to be sent down in efforts to hear if any of the miners had survived. A second collapse causes access to the lower shafts to be blocked and shut down operations. The trapped worker’s knew that rescue operations were in play because the 33 men could the noises below the ground. With limited food, water, and oxygen supplies officials are not sure if the trapped miners can survive four days in their current conditions. By day 17, eight holes had been bore using equipment that had been brought in because on site there was not ample equipment for a rescue of this magnitude. As one of the drill bits (normally used for oil drilling) returned to surface with a note attached, stating â€Å"Estamos bien en el refugio, los 33 (English: We are well in the shelter, the 33) (Wikipedia, 2010). Receiving this message was the first bit of given hope to the families that the collapse mine victims’ were all alive and well. This is when all involved began to change the facility once known as â€Å"San Josà ©Ã¢â‚¬  to Camp Hope. To this point in the rescue operations little talk of survival is the conversation, and this is to prevent false hope or any media mishaps. The authorities had given special thought and considerations to all persons involved in the tragedy. Many times is area’s such as Copiapo, Chile, the miners, the company’s administrative workers, and rescue personal are either friends or family, so by keeping this in mind the communications had to project that efforts to rescue would not cease until all hope is lost. Preparations fo r the rescue of the survivors were in operations, and the workers and the family members of the trapped miners needed refuge. Tents and shelters were set-up and become home as authorities announced the rescue could take several months. During the first 17 days, three plans have been put into place, in the rescue operations. All three of the plans worked in grand scheme of the rescue, in order for the trapped miners to survive this long a plan of survival had to come to play. A trapped shift-supervisor took on the role as survival leader, and gathered the men in a secure room, organizing their supplies with the intent that the few resources they had must last if they were to survive the rescue. Luis Urzula in a position of authority, and the men’s trust Urzula he explains ratios and organizes skilled men to go out into the mine shafts to assess the situation. Finally, workers’ from above can secure two holes, only six inches in diameter, but with the help of what is known as paloma, everything needed by the men below could be sent. Clothing, food, water, medicine, and sleeping supplies could be sent to the men. The items meant more than just survival, the items helped to establish trust that survival was possible. In the days to follow a small fiber optic video line is snaked down to the men. Each family is given the chance to see and speak to their loved ones; the ability to send and receive messages they receive encouragement. As the end of the month of August grows near, Plan A and Plan B toward rescue are in full operations. The trapped workers now have electricity, running water, fresh air, and the fiber optic video cable that allows the men to watch live soccer through their tiny TV, reported ABC News. Each of the men was allowed five minutes per day to communicate with their families and open-communications with the rescues. The once completely hopeless situation for all the company’s employees and the rescue worker, whether this is the professionals or the friends and families, they now feel the cohesion of the rescue efforts. In all of the communications questions were allowed and encouraged to ensure operations below and above ground were in complete collaborations for the efforts of the success in the rescue and to rejoin these families. September passed and October arrives, the rescue mission continues, in the time that has passed the assembly of people gave considerable care, and thought to each member of the rescue operation. Over the past 60 days, by establishing, a record level of compassion is felt, and a bond grew to encourage hope. Finally, on October 12, 2010 the first of the 33 miners was brought up in a rescue capsule, and almost 24 hours later the last trapped miner was brought to safety. The entire group of rescued miners underwent medical and psychological evaluations; within seven days of the rescue all 33 were home with their families. REFERENCES Sherwell, Philip. (2010). 2010 Copiapà ³ mining accident. Retrieved on April 21, 2011. http://en.wikipedia.org/wiki/2010_Copiap%C3%B3_mining_accident Weik, J. (2010, August 6). Over 30 workers trapped after Chilean copper mine collapse. Metal Bulletin Daily, (224), 65. Kofman, Jeffery. (2010). Trapped: Inside the Chilean Mine Collapse. Retrieved on April 19, 2010. http://abcnews.go.com/International/inside-chilean-mine-33-trapped-men/story?id=11622729page1

Impacts of Music Piracy

Impacts of Music Piracy In the future, the only way musicians will make money is by playing live. New federal legislation says universities must agree to provide not just deterrents but also alternatives to peer-to-peer piracy, such as paying monthly subscription fees to the music industry for their students, on penalty of losing all financial aid for their students. When record companies appeared, services they were providing were necessary in order for people to listen to recorded music, making and selling records was a major undertaking. This was a starting point of development of recording techniques and record studios, at that time making recorded music available to masses required a significant capital and investments, which in turn required a legal structure that would provide stable profits and return on the required investment. Music industry used to provide people with tools that were essential to listen to recorder music and the difference between that time and our days is that record companies charge people for permission to use tools people already have that they did not provide, that in fact people paid someone else for, yet the legal structure that developed during the time when that services were useful remains. The legal structure says if you don’t pay you are breaking the law therefore you are criminal and the reason it h as not been changed is because of â€Å"STARS† the entire structure of the record industry is built around their interests. Records produce good money for the industry and almost nothing goes to the pocket of musician. This particular diagram is a good example of old model of music production chain, In our days there is no need of Publisher, Distributors and in most cases manufacturers, modern technology allows to burn CDs at home publish own records using internet distributing the material across the World Wide Web physically and digitally. In old days, musician had to pay to almost every person in Music Production chain to record, studios, engineers, managers, labels, publishers, legal departments, distribution networks etc. in fact all of the departments and services belong to the same corporation and the record companies are not actually record companies at all. â€Å"To begin with, we should note that the major â€Å"record companies† are not actually record companies at all but huge media conglomerates. Most â€Å"independent† labels are owned by a corporate label. Each â€Å"major† is in turn owned by an even bigger corporation, and so on up the food chain. At the top of the chain sit a tiny handful of media giants: Time Warner, Disney, Rupert Murdochs News Corporation, Bertelsmann of Germany, Viacom (formerly CBS) and General Electric. These corporations are among the world’s largest. All are listed in Fortune Magazine’s â€Å"Global 500† largest corporations in the world. They have integrated both horizontally (owning lots of record labels, lots of newspapers, and radio stations) and vertically (controlling newspapers, magazines, book publishing houses, and movie and TV production studios, as well as print distribution systems, cable and broadcast TV networks, radio stations, telephone lines, s atellite systems, web portals, billboards, and more).† In contemporary world there are very few recording projects that actually require use of the Cutting-edge technology studios. The Internet and World Wide Web have changed the character of music distribution with laptops and desktop PCs loaded with hardware and software necessary for high-quality sound recording. All the hardware and software applications are available for the average class people not mentioning internet piracy and â€Å"cracked† software that is available to download using peer-to-peer applications. The problem of piracy has been rising for the past 10 years, and the numbers of â€Å"pirates† are growing day by day. From my personal experience every person that is using computer came across piracy and became victims or even the pirates themselves and the reason for that is simple, easy and user friendly peer-to-peer software takes only couple of minutes to setup and another minute to become familiar with interface and all the features, in another 10 minutes it is possible to find your favorite artist and download your favorite album. That is in fact so convenient that it is becoming only the question of conscience whether it is a problem or an opportunity to become pirate. Realizing the problem of piracy Sony tried innovative approach to earn money on digital music, In 2000 Sony launched online music store â€Å"the Store† where the price for a track was $3.50 that turned off many early adopters of the service moreover, users were actually only renting the tracks for that $3.50 and after a certain point the files expired and could not be played again without repurchase, which was not a successful attempt and service failed quickly. Having that experience In 2003 Apple inc. run iTunes Store, with tremendous success with the Ipod sales which no doubts influences Music industry and the policy of digital music distribution. That is a breakthrough for digital music and especially for mp3 format. According to information by Apple CEO Steve Jobs at the end of the second week of January, 2008, the store has sold 4 billion songs, accounting for more than 70% of worldwide online digital music sales. There were many disputes on the World Wide Web and newspapers and other mass media sources about Ipod users and digital music in overall, where topics like â€Å"Ipod users are thieves† were headline. My own opinion is that it looks like a Dog chasing own tail, on the one hand technologies are growing very fast and there is nothing to put on the 200 GB HDD except tons of music and movies, the same with iPods it is highly improbable to have that amount of music in physical quantity, 40gb of Ipods capacity is approximately 5000 tracks which is around 200 albums†¦ In our days it is becoming more and more difficult for the music industry to ignore the basic economics, technology progress and the outdated legal structures of the industry such as unenforceable property rights (because it is impossible to sue everyone) and â€Å"zero† production costs (Peer-to-Peer and file sharing systems became way too popular). All the big labels such as SONY BMG, Warner and others have now given up on DRM (â€Å"Short for digital rights management, a system for protecting the copyrights of data circulated via the Internet or other digital media by enabling secure distribution and/or disabling illegal distribution of the data. Typically, a DRM system protects intellectual property by either encrypting the data so that it can only be accessed by authorized users or marking the content with a digital watermark or similar method so that the content can not be freely distributed.†) Music Companies still trying to charge for their music, but it’s becoming more and more clear that as long as there is a free alternative (Peer-to peer and other file sharing systems), the price of music and other media will have to fall. â€Å"LONDON — U.S. rock star Prince gave away his new album for free with a U.K. tabloid newspaper, weeks before its official launch, in a move that has caused dismay among music retailers.† Some artists already started to use the situation and instead of fighting with the â€Å"problems† started to look for the advantages and opportunities. Marginal production costs are zero and like in case with software applications, it doesn’t cost anything to produce another digital copy that would be as good as the original, as soon as the first copy exists anyone can create additional copies. Unless effective technical, legal or other artificial barriers to production can be created, simple economic theory dictates that zero marginal cost plus competition (The possibility that consumer will create and spread another copy) results in a zero price, unless government creates artificial barriers to a free market. â€Å"Sure, Radiohead is on a sustained run as the most interesting and innovative band in rock, but what makes In Rainbows important — easily the most important release in the recent history of the music business — are its record label and its retail price: there is none, and there is none.† In October 2007 Radiohead announced that their new album â€Å"In Rainbows† will be available to download free of charge, the fact is, the networks and peer to peed file sharing systems have grown into easy-to-use distribution methods for music even easier than what Radiohead has bee offering. According to Forbes website (www.forbes.com) about 240.000 users has been downloading album using Peer-to peer (BitTorrent) sources â€Å"according to Big Champagne, a Los-Angeles-based company that tracks illegal downloading on the Internet. Over the following days, the file was downloaded about 100,000 more times each day—adding up to more than 500,000 total illegal downloads.† Radiohead offered to download their album for free the only requirement was to set up an account on the website, but according to statistics that turned out to be not â€Å"cheap† enough! The recorded music industry †¦ has for too long been dependent on how many CDs can be sold, writes Guy Hands, EMIs chairman. The industry, rather than embracing digitalization and the opportunities it brings for promotion of product and distribution through multiple channels, has stuck its head in the sand. Radioheads actions are a wake-up call which we should all welcome and respond to with creativity and energy. Nokia made a step forward offering music downloads for free on their mobiles by signing contract with Sony BMG â€Å" Nokia will offer free 12-month access to music from artists of Sony BMG, the worlds second-biggest label, to buyers of its particular music phones, the worlds top cellphone maker said on Tuesday. Last December, Nokia unveiled a similar deal for its Comes With Music phones with the top record label Universal.Comes With Music is expected to launch in the second half of 2008 on a range of Nokia devices in selected markets, Nokia said in a statement.Nokia gave no financial details.Sony BMG, home to artists including Beyonce, Bruce Springsteen and Celine Dion, is jointly owned by Sony Corp and German media group Bertelsmann AG.The new music offering from Nokia the first cellphone maker to push heavily into content would differ from any other package on the market as users can keep all the music they have downloaded during the 12 months.† My personal opinion is whether you agree or disagree that the prices for the music will be zero or about zero but it is going to happen if the authorities would not take drastic measures to solve the issues as it appears that there is no â€Å"easy† solution†¦ The new era is coming, the era of free recorded music and my believe is that everything is going in a right way, recorded music will become one of the marketing tools to get people to pay for the live concerts, that will put emphasis on organizational skills and on new dimension of the performances and performance quality which will result in cultural socialization and stronger community. In countries like Brazil people already started to use situation as an advantage and opportunity, people doing huge amount of remixes which resulting in new styles and music cultures like Techno Brega â€Å"In the North of Brazil, you have the Techno Brega movement. [..] You have a music producer who has a recording studio. [..] Probably a small one with good equipment. They invite the artists to these studios to make the CDs. They deliver it to the street vendors, so that they can replicate them. The only people making a profit out of CD sales are the street vendors. The musicians dont expect any money from releasing the CDs.† People realized that CD sales model is not an effective way to earn money in our days it is outgrown to promotion side of business and what people are doing now is using CDs to record actual performances and then sell it to people who have attended the performance which is a good souvenir and memory of the event. Services and web resources are developing for the benefits of artist. Web resources such as www.myspace.com or www.sellaband.com could be of great benefits to artist. Sellaband is a very perspective web project which is aimed to promote artist but in slightly different way then www.myspace.com, Artist creates a profile, uploading all the necessary information and maximum of 3 demo songs and looking for â€Å"believers†, each believer have to invest at least 10$ in artist and as soon as the amount of believers will reach 5000 the artist will receive 50000$ to record the album, after the album has been produced the believers will receive limited edition CDs with all the bonuses, all services are absolutely free as for believers as for the artist, that is a very bright idea as the â€Å"believers† could be a very good source of money which is very important for the first album, the amount of believers could be less then 5000, the main concept is to rise 50000$ therefore, i n this case it is possible for artist to divide the source of money between believers and himself so that it could be 50% from artist and 50% from believers. In conclusion, record labels are going down and struggling to make profits from CD sales and it appears that digital music selling is more reliable for revenue then CD sales. Copyrights and intellectual property rights law have to be updated to cooperate with current issues of piracy and file sharing protocols. CD Sales model has to be reincarnated to CD promotional model in order to regain the value of physical product with the emphasis put on live performances which should result in quality and cultural aspect of performances.

Policies for War Reporting in the Media

Policies for War Reporting in the Media PART V : THE WAY AHEAD â€Å"Smart generals understand all too well that wars can be won on the world’s television screens as well as on the battlefield†. Alvin and Heidi Toffler in â€Å"War and Anti War†. Media Policy Enumerate National Information and Media Policies. The government must enumerate national information and media policies and the aspect of defence coverage, in peacetime, conventional and LIC environment, must be adequately covered. Maj Gen Arjun Ray highlights the difference between the two. The information policy concerns the right of the citizen to information within and without the government , and the enactment of laws to facilitate such a flow. Media policy on the other hand includes all elements relating to information and communications to cover its relations with the media[2]. Statement of Policy.The media policy must address the core issue of defining the degree and kind of restraints to be placed on the media during peace, low intensity conflict and war in order to ensure positive media coverage without loss of credibility and endangering operational security and troop safety. It must lay down the media objectives, priorities, methods, means and constraints for the three situations. Transparency and Media Pools.Transparency must form a corner stone of the media policy as it will lead to greater public understanding and awareness which in turn will lead to greater appreciation and public confidence in the armed forces. One way of achieving this is by forming ‘Media Pools’ at different levels from services headquarters to corps. These pools must be composed of accredited and security-cleared representatives of different national and regional media and nominated by their parent organisations. These pools must be activated during exercises, low intensity conflicts and war and kept in readiness to be moved to the scene of action at short notice. Such a system will facilitate the media to cover operations in remote locations by being present at the scene of action, which it cannot otherwise do and at the same time facilitate the army in planning for handling and assisting media without compromising on security. Joint Security Review. A system of joint security review must be worked out in consultation with the Press Council of India and eminent media persons to replace the system of pre-censorship during peace and operations. This will go a long way towards enhancing the credibility of the armed forces. Accreditation of Defence Correspondents.Requisite qualifications for defence correspondents, such as a degree in defence studies and the ‘Defence Correspondents Course’ must be made mandatory for a journalist to be accredited as a defence correspondent. Efforts must be made to grant accreditation to adequate number of representatives of regional media, especially in areas affected by or having the potential for LIC. Self Restraint by Media.Self restraint by media is any day preferable to pre censorship and will only enhance media credibility. A list of sensitive issues on which the media must exercise restraint and different sets of security guidelines for covering defence matters during peace, exercises, LIC and war must be evolved in consultation with the media and notified to the media and their organisation such as the Press Council of India. Official Secrets Act.The Official Secrets Act 1923 must be revised to incorporate the damage potential of a piece of information as the overriding factor in determining whether or not its disclosure and receiver are guilty. Such a step will be a big stride towards recognition of the ‘right to know’ in a democracy[1]. Interaction with Foreign Media.Interaction with foreign media abroad can be left to the Indian mission located in that country. However, the DIPO should have the authority and the where-with-all to deal with international media in New Delhi. Similar flexibility would need to be made available at the Regional Command level. PR Organisation Setting up of an Apex Body. There is a clear need to replace the DPR with an integrated body to coordinate the functions of various Public Relations Organizations. For instance in the LIC environment there is a case of overlapping authority, where the armed forces and the numerous Central Police Organisations have their own Public Relation Departments, with different perceptions, interpretations and claims. These need to be coordinated by an Apex Body as they affect official credibility. This Apex Body should comprise officials and media specialists of sufficient standing to be included in high level policy meetings. It should include representative from the military, the media and the affected states. This Body should issue media policy directives, evaluate the need and level of controls to be imposed and be a fountainhead for information release. This should be headed by a Joint Secretary (PR), who should act as a spokesman for the Ministry of Defence, and should report directly to the Defence Secretary. He can be drawn from the armed forces or the All India Services, but more importantly should be chosen because of his background and experience in matters relating to national security and the military. On the formation of a National Security Council, this Apex body could form an important part of it, for dissemination of information and as an interface with the media. Media and Psychological Operations Directorate-Corps of PR. The armed forces Public Relation Department needs to be organised into a uniformed joint service organisation, the Corps of PR, under the Chiefs of Defence Staff (CDS). This is so, as the PR organisation is the basic vehicle available to the Services to counter terrorist and military propaganda. The existing organisation is ill suited to handle the psychological nature of media operations in the LIC and counter-terrorism scenario. The appointment of an Additional Director General (Media and Psychological Operations) and the setting up of a Directorate functioning under the CDS, to coordinate the media needs of the Services, would be a step in the right direction. The ADG should be assisted by PR Staff drawn from the three Services, and needs to function in close coordination with their operations and intelligence staff. Establishment of Army Liaison Cell.It is an innovation since 1996 which has virtually taken over the task of providing information on operational matters. A similar cell was set up during Kargil which achieved outstanding results[3]. It is headed by a Brigadier at Army HQ in South Block who functions directly under the Vice Chief of Army Staff and hence enjoys better access to all formation commands in the country, which the DPR does not have. The protocol between the Cell and the media should be clearly defined in the larger interest of defence media coverage. Also, the Cell needs to be relocated as it is housed in a prohibited area to which the media has no easy access. Establishment of Media and Psychological Operation Cells (MAPO). At each command and corps HQs, and their equivalent levels in the other two services, these cells should be established to cater for the media needs of the respective formations. In formations involved in LIC and counter- insurgency operations additional staff can be authorised on their establishment to cover the operational requirements of various divisions and brigades under them. Particular attention is required for staffing these cells as the officers selected as PROs should be highly motivated career officers, with the requisite aptitude and training for media handling. Selection and Training of PROs. Officers with aptitude and potential for creative writing and media management should be deputed for professional courses in media related activities or mass communications at the university level. On completion of training they should form the core for staffing the Corps of PR and MAPO cells at various levels. The officers so selected should be ‘up coming’ career officers, who should be given adequate incentives to choose this stream as a career option. They should attend courses conducted at the Indian Institute of Mass Communications (IIMC) periodically as they rise in service. At the Apex level the ADG (Media and Psy Ops) should be top professionals with adequate experience in combating LIC and counter – insurgency operations, and a flair for media handling. Provisions should also be made through which the Government can directly induct suitably qualified personnel from the media into the Defence Media Management organisation wh en required. Rank and Status of the PROs.The rank and status of the PROs needs to be elevated and the balance of the armed forces made to recognise their importance in the battle field, during LIC and military operations other than war. Exclusive Cadre of Defence Information Officers. At the DPR level, the Ministry of Defence should evolve an exclusive cadre of Defence Information Officers who can be posted to various locations according to the demands and needs of the three services. Ex servicemen could be inducted into such a service if they have the aptitude. Posting of Officers to PR Corps.It is recommended that only selection grade officers from the three services, with sufficient knowledge of various disciplines of the defence forces should be posted to the PR organisation. They should also have a reasonable tenure to maintain continuity as otherwise they are not likely to maintain interest. Budget and Resources.The PR budget of a defence establishment of this size must be increased manifold from the current level. Reccomendations for the Armed Forces Information Warfare – Principle of War. Information warfare for military operations should be conducted concurrently with operational planning as a Principle of War. This should be institutionalized at the level of policy formation[4]. Media an Equal Partner. In our democratic nation the media should be accepted as an equal partner working for the good of the people and the country at large. In the effort towards building a more positive image of the armed forces, the media must be encouraged to report on operations by being present at the scene of action if security permits. Rapport with Media.A conscious effort needs to be made to build up a rapport with media at all levels and more so at the level of senior commanders and staff officers. Interaction by way of organising seminars and guest lectures, mutual visits, inviting articles of eminent media persons in professional military journals and contribution of papers for professional media journals by service officers must be encouraged at all levels as a matter of policy. Media should also be invited to military events such as fire power demonstrations, tactical exercises, sports and welfare activities and ceremonial functions in Officers’ Messes[5]. Ground rules . A set of firm ground rules should be established as a guide for a mutually beneficial relationship. This relationship should be based on a positive, open and anti-media bias of the Armed Forces; and the media on its part should be objective and fair, as also be understanding about the constraints under which the military has to operate. Surveys and Opinion Polls – Need for a Regular Feed Back System. To ensure that the media coverage of the armed forces remains focused and positive, and to gauge its effect on the public from different regions; and on troops and their families, a system of obtaining regular feed back must be instituted. This could be obtained through the conduct of surveys and opinion polls conducted by renowned and recognized organisations. The information so obtained through these methods must form the basis for the formulation of a media strategy for the projection of a correct image of the armed forces. Training of Officers. Media and its handling must form part of the curriculum at all stages of an officers career starting from pre-commission training in the academies to post-commission training in all arms courses right up to senior levels, especially at the Defence Services Staff College. Commands and corps must also organise cadres and seminars on this subject for the benefit of other officers. Innovative methods of media training must be incorporated in all exercises and wargames for commanders and staff officers. Training of Troops. Dealing with media must form a part of various promotion cadres for Non Commissioned and Junior Commissioned Officers. In addition troops must be briefed regularly and practised in handling media persons during exercises. Training of Media Persons. Efforts must be made in consultation with the Press Council of India, various media organizations, University Grants Commission and leading universities conducting courses in journalism to incorporate defence awareness programmes and specifics of defence journalism in their curriculum. The scope of the War Correspondents courses presently conducted at the Intelligence School, Pune must be enhanced and it should be made a compulsory prerequisite for accredition as a defence correspondent. An advanced/refresher course should be designed for interested senior defence correspondents. Training should also be imparted by incorporating the media in various formation level exercises and wargames, to enable them to familiarize with combat environment. General Staff Pamphlets. All aspects of media handling by the army including the role and effect of media in various operations must be published as a General Staff publication. Current series of publications on ‘Operations of War’ and ‘Counter Insurgency Operations’ must be modified to incorporate a chapter on media. In order to foster a symbiotic relationship with media we must have a hard and deep look at our attitudes towards the media, both individual and organizational. Before any organizational change is possible attitudinal focus is essential. We need to brush off the stifling colonial mindsets and join the information age in an aggressive manner. The Army must become less sensitive to media reports and must view them as constructive criticism. We cannot and must not expect an adulatory or laudatory media all the time as was the case in Kargil. The Army must accept the fact that the media is an ally and must be treated as such . In the information age synergy with the media is a force multiplier. ________________________________________________________________________ 1 Dinesh Kumar, â€Å"Media Management Survival kit for Armed Forces† , Times of India, 24 Nov 2000. 2 Ray Arjun , Major General, Kashmir Diary, Psychology of Militancy, Manas Publications, 1997, pp113. 3 Adrianwala, op.cit. pp12 4 Natrajan V C, op. cit. pp 36. 5 Dutt J K, â€Å"Media and the Military†, The Statesman ,26 Jul 98. [1] 1 Dinesh Kumar, â€Å"Media Management Survival kit for Armed Forces† , Times of India, 24 Nov 2000. [2] Ray Arjun , Major General, Kashmir Diary, Psychology of Militancy, Manas Publications, 1997, pp113. [1] Indian Media And War Maturity Media Essay [3] Adrianwala, op.cit. pp12 [4] [5]

The Role Of Zeus in Homers Iliad :: Iliad essays

The Role Of Zeus in Homer's Iliad In the era of Homer, divine intervention was thought to be typical, and one of his foremost works, The Iliad, reflects this. Nearly all of the Greek gods are involved in the outcome of the Trojan War, which happens to be the background story of this epic poem. The gods are used by Homer to add twists on an otherwise standard plot of war. I shall concentrate on Zeus, however, and reflect on his actions and their outcomes on the Trojan War, and more importantly, the story of The Iliad. Zeus, very untypical of a Greek god in his lack of involvem7ent in the Trojan War for selfish reasons, was portrayed as the father figure, being impartial and fair to both sides of the war. He remains this way to serve as a check for each god's involvement in the war. Without his presence at the head of the inner circle of Olympus, it is likely that the activity of the Trojan War would become chaotic, possibly even becoming a playground of war for the gods. With Zeus's majestic power, above all of the other gods combined, along with his experience, he is quite befitting to his role in the storyline of The Iliad. The Iliad was thought to be written by a Greek minstrel named Homer. The Iliad was the first of the major epics credited to him, the second being The Odyssey. Discussion about Homer among scholars inevitably leads to controversy on nearly every conceivable issue, ranging from his birthplace to his actual composition of either of these epics. Because of our lack of reliable information, we have but a small fragment of knowledge agreed on by scholars about the writer of the first great piece of literature of Western civilization. Homer in ancient Greece was conceived as a "blind, old man, singing or reciting his own compositions" (History of Horticulture), and at least seven ancient Greek cities claimed to be his birthplace. His work has been questioned as to two separate ways: if one minstrel, possibly named Homer, composed these works alone, and if so, if this minstrel wrote both of these epics. It has been argued that Homer is, in fact, the collective progression of minstrels that have passed this

Spain :: Spains Economy, Politics, Culture

Spain or also known as the kingdom of Spain is a beautiful country with a very alluring geography, history, culture, economy, missionary effort, and state capitol. Since Spain is such a large country it is packed full of information to research about. Spain is also the origin of many holidays and practices. Just because Spain is a foreign country doesn’t mean it can’t be interesting to others. Geography Spain is a beautiful country with astonishing landmarks and geographic information. Spain is located in southwest Europe (World Almanac 834) on the Liberian peninsula (Croy 7). To the north of Spain is France and the Bay of Biscay, to the south is the Strait of Gibraltar in the east is the Medaterian Sea, and in the west are Portugal and the Atlantic Ocean (World Almanac 834, 466). Two major landforms are the Sierra Nevada and the Pico de Aneto Mountain (World Book 741). Spain is also the largest country in the Liberian peninsula (Croy 7). Two major rivers in Spain are Duro River and the Guadiana River. (World Book 471). Spain’s language is Spanish and their religion is Roman Catholic and Muslim (World Almanac 834). Spain’s main natural recourses are gold, fish, and livestock (World Almanac 835). Economy Spain’s economy is a well-based way to equally spread money to all of the people. Spain’s currency is the European union euro. The gross domestic per capita is thirty three thousand six hundred euros a year. In labor force 2.4 percent goes to agriculture, 24 percent to industry, and 71.1 percent to services (World Almanac 835). By January twenty third 2011 One U.S.A dollar is only zero point seventy-five euros and one euro is equal to one dollar and thirty-three cents (Culture Grams). Three major agriculture products are wood, potash, and Zink (World Book 743). Culture Spain’s culture is very unique with interesting holidays and ethnic groups. One of Spain’s most interesting holidays is called the Twelfth Night. During the Twelfth Night the people of Spain give gifts instead of on Christmas. Even thought give them on the Twelfth Night but they still celebrate Christmas (Croy 27). Their ethnic groups are mixed Mediterranean and Nordic and their language is Spanish (Gale Vert Reference Library). On January eighteenth 2011 the population was 40,548,753 people and the literacy rate was 99% for male and 99% for female. The definition of literacy rate is, â€Å"The percentage of people over 15 who can read and write a paragraph of their life† (Culture Grams).

The false accusation (story) :: essays research papers

The False accusation Jimmy was a short and a big headed kid. He was very smart and had brown hair. One day, he was walking in the long and narrow hallway between his classes with, his autographed football and work books in his hand, when his friend Sheen approached him. Sheen was Jimmy’s best friend. He was tall and had black hair. Sheen was considered by Jimmy, to be slow in the head. â€Å"Where’s our next class?† Jimmy asked. â€Å"What?† asked sheen. â€Å"Where’s our next class?† Jimmy repeated. â€Å"Oh, why didn’t you say that? It’s over there,† said sheen, pointing down to the class at the end of the hallway. Sheen led them to their class and sat a seat behind from Jimmy. Jimmy sat down and put his ball under his chair. The class was very spacious with 4 rows of 4 individual desks. The desks were all facing a chalkboard that was located in the front of the class. In the back of the class were four computers on individual tables. The chairs near those desks were very low. There was a little space that was dark between the tables. Jimmy looked around. The rest of the class was already seated and ready. Sitting on the right of Jimmy was a fat brown haired kid named Karl. Karl snorted when he laughed and Jimmy thought that to be funny. Karl was Jimmy’s other friend. On the other side of Jimmy, was an enormous and tall kid that always used to pick on Jimmy. He was called Max the bully by the rest of the class. The bell rang, which meant that class was starting. A second after the ringing, walked in the teacher. Her name was Mrs. Polzin. She was short and chubby, and had a low voice. She had short dark brown hair and blue eyes. Jimmy disliked her and believed she was from a different planet. Jimmy had her as a teacher for 3 years; since 3rd grade and had never liked her. Class started by the Mrs. Polzin greeting the students with, what Jimmy thought to be, a fake smile and good morning. She sat down at her desk and asked the pupils to take out their show and tell items. Other students had brought their pictures; others had brought caps and sweatshirts from different countries. Jimmy thought, like the others, his show and tell item was the best.

Three Theories of Art Essay

Harold Osborne (Aesthetics and Art Theory) identified three basic ways in which we can think about works of art. In the simplest sense, a work of art has certain physical properties. It is made of a material (e. g. , wood, marble, clay, paint on canvas, ink on paper) which possesses texture, contains shapes, occupies a portion of space, reflects certain colors, and is apprehended over time. In addition, these colors, textures, and shapes are organized together in a certain way. These material and organizational qualities of a work of art are called its formal properties, and discussion about the value of art from this perspective is to consider a formal theory of art. Secondly, art uses its formal properties to present itself in certain basic ways. For example, art which serves as a copy of reality is described as â€Å"realistic† or â€Å"naturalistic. † Art which presents an improved version of an existing reality is called â€Å"idealistic. † Though in the recent past in the West we’ve shown a bias for naturalistic art, some art doesn’t mimic reality, and this kind of art we call â€Å"abstract. † Discussion of a work of art within the context of realism and abstraction is to participate in a presentational theory of art. Throughout history works of art have typically served a purpose, they’ve served as instruments to accomplish these purposes. For example, art has served to indoctrinate people about the importance of particular political and religious personages and beliefs. When we talk about art in terms of acting on behalf of a purpose, Osborne says we’re working within an instrumental theory of art. All works of art offer formal, presentational and instrumental qualities. These categories become the framework for the analysis of works of art. To assist in their application to a work of art, listed below are words, expressions and responses typical to each category. Formal Theory: Terms: Form: shape, size, location, scale, texture, visual clarity Color: harmony/dissonance, properties of light/illumination Design: balance, symmetry/asymmetry, order, unity, proportion, geometric/organic Emotional responses to attributes listed above: a beautiful color, a beautiful combination of shapes and colors; a feeling of awe in response to the scale, mass, symmetry of a building. Response is primarily emotional. Cognitive responses: Comparison of art and nature (e. g. , pattern in art and nature); comparison of different works of art in formal terms. Presentational Theory: Terms: Realism, naturalism, idealism, illusion, representation, architectonic, abstraction, style, stylized, decorative, connoisseurship/taste Emotional responses to the attributes listed above: the perfectly beautiful body of the Greek goddess; delight in the quality of illusion. Cognitive responses to the above attributes: assessment of the accuracy of representation; comparison to other art of this type. Instrumental Theory: Terms: Craft, communication of personal ideas and emotions, communication of social (moral, political, religious) values, narrative, iconography, education, magic and ritual, vicarious experience, art-for-art’s sake Emotional responses to attributes listed above: beautifully crafted piece; empathic reaction to artist’s expression; enjoyment of the vicarious experience of a realistic presentation. Cognitive responses to the above attributes: insight into reality; understanding social values, historical events and characters. There is a prominence of cognition in this category because of the communication of ideas. ï » ¿Three Theories of Art Essay Harold Osborne (Aesthetics and Art Theory) identified three basic ways in which we can think about works of art. In the simplest sense, a work of art has certain physical properties. It is made of a material (e. g. , wood, marble, clay, paint on canvas, ink on paper) which possesses texture, contains shapes, occupies a portion of space, reflects certain colors, and is apprehended over time. In addition, these colors, textures, and shapes are organized together in a certain way. These material and organizational qualities of a work of art are called its formal properties, and discussion about the value of art from this perspective is to consider a formal theory of art. Secondly, art uses its formal properties to present itself in certain basic ways. For example, art which serves as a copy of reality is described as â€Å"realistic† or â€Å"naturalistic. † Art which presents an improved version of an existing reality is called â€Å"idealistic. † Though in the recent past in the West we’ve shown a bias for naturalistic art, some art doesn’t mimic reality, and this kind of art we call â€Å"abstract. † Discussion of a work of art within the context of realism and abstraction is to participate in a presentational theory of art. Throughout history works of art have typically served a purpose, they’ve served as instruments to accomplish these purposes. For example, art has served to indoctrinate people about the importance of particular political and religious personages and beliefs. When we talk about art in terms of acting on behalf of a purpose, Osborne says we’re working within an instrumental theory of art. All works of art offer formal, presentational and instrumental qualities. These categories become the framework for the analysis of works of art. To assist in their application to a work of art, listed below are words, expressions and responses typical to each category. Formal Theory: Terms: Form: shape, size, location, scale, texture, visual clarity Color: harmony/dissonance, properties of light/illumination Design: balance, symmetry/asymmetry, order, unity, proportion, geometric/organic Emotional responses to attributes listed above: a beautiful color, a beautiful combination of shapes and colors; a feeling of awe in response to the scale, mass, symmetry of a building. Response is primarily emotional. Cognitive responses: Comparison of art and nature (e. g. , pattern in art and nature); comparison of different works of art in formal terms. Presentational Theory: Terms: Realism, naturalism, idealism, illusion, representation, architectonic, abstraction, style, stylized, decorative, connoisseurship/taste Emotional responses to the attributes listed above: the perfectly beautiful body of the Greek goddess; delight in the quality of illusion. Cognitive responses to the above attributes: assessment of the accuracy of representation; comparison to other art of this type. Instrumental Theory: Terms: Craft, communication of personal ideas and emotions, communication of social (moral, political, religious) values, narrative, iconography, education, magic and ritual, vicarious experience, art-for-art’s sake Emotional responses to attributes listed above: beautifully crafted piece; empathic reaction to artist’s expression; enjoyment of the vicarious experience of a realistic presentation. Cognitive responses to the above attributes: insight into reality; understanding social values, historical events and characters. There is a prominence of cognition in this category because of the communication of ideas. ï » ¿Three Theories of Art Essay Harold Osborne (Aesthetics and Art Theory) identified three basic ways in which we can think about works of art. In the simplest sense, a work of art has certain physical properties. It is made of a material (e. g. , wood, marble, clay, paint on canvas, ink on paper) which possesses texture, contains shapes, occupies a portion of space, reflects certain colors, and is apprehended over time. In addition, these colors, textures, and shapes are organized together in a certain way. These material and organizational qualities of a work of art are called its formal properties, and discussion about the value of art from this perspective is to consider a formal theory of art. Secondly, art uses its formal properties to present itself in certain basic ways. For example, art which serves as a copy of reality is described as â€Å"realistic† or â€Å"naturalistic. † Art which presents an improved version of an existing reality is called â€Å"idealistic. † Though in the recent past in the West we’ve shown a bias for naturalistic art, some art doesn’t mimic reality, and this kind of art we call â€Å"abstract. † Discussion of a work of art within the context of realism and abstraction is to participate in a presentational theory of art. Throughout history works of art have typically served a purpose, they’ve served as instruments to accomplish these purposes. For example, art has served to indoctrinate people about the importance of particular political and religious personages and beliefs. When we talk about art in terms of acting on behalf of a purpose, Osborne says we’re working within an instrumental theory of art. All works of art offer formal, presentational and instrumental qualities. These categories become the framework for the analysis of works of art. To assist in their application to a work of art, listed below are words, expressions and responses typical to each category. Formal Theory: Terms: Form: shape, size, location, scale, texture, visual clarity Color: harmony/dissonance, properties of light/illumination Design: balance, symmetry/asymmetry, order, unity, proportion, geometric/organic Emotional responses to attributes listed above: a beautiful color, a beautiful combination of shapes and colors; a feeling of awe in response to the scale, mass, symmetry of a building. Response is primarily emotional. Cognitive responses: Comparison of art and nature (e. g. , pattern in art and nature); comparison of different works of art in formal terms. Presentational Theory: Terms: Realism, naturalism, idealism, illusion, representation, architectonic, abstraction, style, stylized, decorative, connoisseurship/taste Emotional responses to the attributes listed above: the perfectly beautiful body of the Greek goddess; delight in the quality of illusion. Cognitive responses to the above attributes: assessment of the accuracy of representation; comparison to other art of this type. Instrumental Theory: Terms: Craft, communication of personal ideas and emotions, communication of social (moral, political, religious) values, narrative, iconography, education, magic and ritual, vicarious experience, art-for-art’s sake Emotional responses to attributes listed above: beautifully crafted piece; empathic reaction to artist’s expression; enjoyment of the vicarious experience of a realistic presentation. Cognitive responses to the above attributes: insight into reality; understanding social values, historical events and characters. There is a prominence of cognition in this category because of the communication of ideas.