Orthoses Intervention Essay

Presently, there exists a wide variety of various clinical interventions which are on the market based on personal interest, experience and skills of every clinician. Accordingly, it has become intricate for the therapist and also the patient to select the most efficient treatment for their specific problem. Since all the people who work in the health sector are involved in being answerable for providing best tools and options for the most efficient intervention, clinicians have a challenge treat their patients with the most efficient available intervention. Research hypothesis The hypothesis formulated for this research is: †¢ Orthoses are a clinically successful Podiatric Intervention Disease selected for the research background information A patient suffering from Charcot-Marie-Tooth sickness was prescribed for an ankle-foot orthoses to assist his gait. The patient was an ardent bicyclist and sought an evaluation of the impact of orthoses on his ardent bicycling activities, and also his gait. The impact of three ankle-foot orthoses on the joint angles when bicycling and walking and, ankle torque as well as production of power during walking processes as well as heart rate when bicycling were calculated. The quantitative impacts of every AFO on walking and bicycling workings are then discussed in relation to the patient’s inclination. Charcot-Marie-Tooth (CMT) Charcot-Marie-Tooth (CMT) sickness is a genetic neuropathic illness which results in progressive degenerate of the muscles which are distal to the knee and commonly results in gait restrictions. Ankle-foot orthoses (AFOs) devices have been used and revealed to have constructive impact on the gait of patients who are suffering from ankle muscle weakness, which includes restitution of heel strike, enhanced management of plantar flexion subsequent to foot strike, normalizing of heel rise, improved thrust for the period of push-off, stabilizing of the knee when in stance, and reduction in unusual hip and knee flexion in the process of swinging. The design of AFO might as well influence gait movement in patients who have CMT sickness. In the present study, we shall assess the effects of three different kinds of AFOs on joint angles when walking and also when bicycling, the ankle torque as well as power production when walking, and the heart rate in the course of bicycling for an individual suffering from CMT. The research also discusses the association amid these effects as well as the patient’s liking for AFO variety for walking as well as bicycling. Methodology Subsequent to manufacture and the patient was fitted with AFOs , the patient was later requested to use the AFO as much as he could for walking as well as bicycling, he was also asked to decide which one of the braces he had used he favored for each different activity. When a period of a bout one month elapsed during which the patient was using the devices, the gait of the patient was evaluated without AFO and also with the three different AFOs. Another period of two weeks elapsed and the patient’s bicycling activity was assessed without the AFO at first and then with the three different AFOs afterwards. Results Gait speed The resulted indicated that, the pace of walking on the ground was quicker when using the no-AFO state (1. 09 m/s), then the solid ankle AFO state followed with (1. 04 m/s), and this was followed by the posterior trim AFOs and the prefabricated AFO (1. 01 m/s). The usual self-chosen adult walking pace ranges between 1. 33 m/s and 1. 51 m/s, (Pierson-Carey et al, 1997) so the patient’s walking pace was slower compared to the normal pace. The variations in pace amongst the three AFO states as well as the no-brace state are minute, however using the AFOs might have reduced the patients walking pace a little. Joint angles The key distinction in joint angles happened at the joint of the ankle during swing point with the utilization of solid ankle as well as posterior trim AFOs. It was observed that the prefabricated AFO had slight consequence on ankle joint angles when contrasted with the no-AFO state. During a foot strike where an AFO was not used and when the prefabricated AFO was used the results were that the ankle of the patient was plantar flexed. In addition, there was just a small upward angulation position of the foot comparative to the floor (Table1). But, when posterior trim AFO as well as solid ankle AFO were used, the ankle joint of the patient was observed to b in dorsiflexion at point of the foot strike with an additional normal heel strike. Ankle torque A person’s internal ankle torque production is due to a different muscle activity in the body inactive broadening of tissue, as well as restrictions due to the AFO and also the shoe. Contrasted with usual gait, every state resulted in a lot lesser torque production for dorsiflexion as well as plantar flexion (Figure 1). It was observed that, the solid ankle and posterior trim AFO conditions both resulted in dorsiflexion torques of longer period following foot strike when contrasted with the no-AFO as well as the prefabricated AFO states produced results which were inline with the ankle joint angle outcomes, which revealed a lot of heel strike with solid ankle as well as posterior trim AFO. Discussion It is commonly accepted that putting on ankle foot orthosis (AFO) can result in a positive impact on the gait in patient suffering from hemiplegia. The orthoses assist in a number of functions in ambulation which includes controlling dorsiflexion and also plantarlexion in stance as well as swing stages of gait. In addition, AFOs are believed to steady the ankle in ankle’s transverse and frontal planes in times of gait activities and balance. Pierson-Carey, et al (1997) however, points out that, traditionally, a normal metal (Bicaal) AFOs have in the past been researched to additional asses clinical observation on joint stability among patients with Charcot-Marie-Tooth who use these devices Lehmann, et al (1986) observes that, in the process of the mid stance as well as propulsion stages of gait of the patient, the no-AFO as well as posterior trim AFO states led in lesser values of plantar flexion torque being produced when compared to solid ankle AFO or even the prefabricated AFO states. When in the mid stance point of gait of the patient, the plantar flexors usually offer restrictions to forward movement of the tibia, while the foot of the patient remains rooted on the ground. In the propulsion stage the plantar flexors usually operate to bring fourth heel rise as well as plantar flexion of the patient. Solid ankle AFO as well as the prefabricated AFO were observed to be more efficient in offering plantar flexion torque (restriction to dorsiflexion) when in these stages. On the while the posterior trim AFO was formulated to give restriction to plantar flexion and not resist dorsiflexion, as a result it was not as efficient to provide to plantar flexion torque in these stages. Conclusions This research has concluded that, using the posterior trim as well as solid ankle AFOs when walking reduced the extreme hip and knee flexion of an individual. It also reduces the ankle plantar flexion in the process of swinging. However, there were no significant modifications during stance period. The patient in the case study was conscious of these encouraging transformations in his gait when using the AFOs. Nevertheless these transformations were not important enough to result in him using AFOs in every circumstance, and as such the patient used them merely in circumstances in when the look of his own gait was imperative to him only. When the patient indeed used AFOs for walking, the patient favored the posterior trim AFO compared to the solid ankle AFO since it fit him better than the posterior trim into his dress shoes. When cycling his bicycle, usage of the different AFOs reduced the inclination toward extreme dorsiflexion when performing the downward stroke and the solid ankle AFO was observed as the most efficient. Consequently the patient favored to using solid ankle AFO when cycling, however the patient did not detect any variation in the cycling speed on his normal road bicycle when using solid ankle AFO. However as Lehmann (1993) notes not any of the AFOs attested to be better in walking process or cycling activities, as such the patient favored to using dissimilar AFOs for these activities. More research would be required integrating diverse AFO designs, equipment, and positions, to establish if it is probable to formulate one particular AFO which optimizes the patient’s walking as well as bicycling effectiveness. Extra outcome procedures, which include oxygen expenditure and ankle power assessments when cycling, might assist to better discern amongst variations in performance which are attributed to the using of diverse AFOs.

Art After Philosophy (1969) Joseph Kosuth Essay

The fact that it has recently become fashionable for physicists themselves to be sympathetic toward religion . . . marks the physicists’ own lack of confidence in the validity of their hypotheses, which is a reaction on their part from the antireligious dogmatism of nineteenth-century scientists, and a natural outcome of the crisis through which physics has just passed. –A. J. Ayer. . . . once one has understood the Tractatus there will be no temptation to concern oneself anymore with philosophy, which is neither empirical like science nor tautological like mathematics; one will, like Wittgenstein in 1918, abandon philosophy, which, as traditionally understood, is rooted in confusion. –J. O. Urmson. Traditional philosophy, almost by definition, has concerned itself with the unsaid. The nearly exclusive focus on the said by twentieth-century analytical linguistic philosophers is the shared contention that the unsaid is unsaid because it is unsayable. Hegelian philosophy made sense in the nineteenth century and must have been soothing to a century that was barely getting over Hume, the Enlightenment, and Kant.1 Hegel’s philosophy was also capable of giving cover for a defense of religious beliefs, supplying an alternative to Newtonian mechanics, and fitting in with the growth of history as a discipline, as well as accepting Darwinian biology.2 He appeared to give an acceptable resolution to the conflict between theology and science, as well. The result of Hegel’s influence has been that a great majority of contemporary philosophers are really little more than historians of philosophy, Librarians of the Truth, so to speak. One begins to get the impression that there â€Å"is nothing more to be said.† And certainly if one realizes the implications of Wittgenstein’s thinking, and the thinking influenced by him and after him, â€Å"Continental† philosophy need not seriously be considered here.3 Is there a reason for the â€Å"unreality† of philosophy in our time? Perhaps this can be answered by looking into the difference between our time and the centuries preceding us. In the past man’s conclusions about the world were based on the information he had about it – if not specifically like the empiricists, then generally like the rationalists. Often in fact, the closeness between science and philosophy was so great that scientists and philosophers were one and the same person. In fact, from the times of Thales, Epicurus, Heraclitus, and Aristotle to Descartes and Leibnitz, â€Å"the great names in philosophy were often great names in science as well.†4 That the world as perceived by twentieth-century science is a vastly different one than the one of its preceding century, need not be proved here. Is it possible, then, that in effect man has learned so much, and his â€Å"intelligence† is such, that he cannot believe the reasoning of traditional philosophy? That perhaps he knows too much about the world to make those kinds of conclusions? As Sir James Jeans has stated: . . . When philosophy has availed itself of the results of science, it has not been by borrowing the abstract mathematical description of the pattern of events, but by borrowing the then current pictorial description of this pattern; thus it has not appropriated certain knowledge but conjectures. These conjectures were often good enough for the man-sized world, but not, as we now know, for those ultimate processes of nature which control the happenings of the man-sized world, and bring us nearest to the true nature of reality.5 He continues: One consequence of this is that the standard philosophical discussions of many problems, such as those of causality and free will orof materialism or mentalism, are based on an interpretation of the pattern of events which is no longer tenable. The scientific basis of these older discussions has been washed away, and with their disappearance have gone all the arguments . . .6 The twentieth century brought in a time that could be called â€Å"the end of philosophy and the beginning of art.† I do not mean that, of course, strictly speaking, but rather as the â€Å"tendency† of the situation. Certainly linguistic philosophy can be considered the heir to empiricism, but it’s a philosophy in one gear.7 And there is certainly an â€Å"art condition† to art preceding Duchamp, but its other functions or reasons-to-be are so pronounced that its ability to function clearly as art limits its art condition so drastically that it’s only minimally art.8 In no mechanistic sense is there a connection between philosophy’s â€Å"ending† and art’s â€Å"beginning,† but I don’t find this occurrence entirely coincidental. Though the same reasons may be responsible for both occurrences, the connection is made by me. I bring this all up to analyze art’s function and subsequently its viability. And I do so to enable others to understand the reasoning of my – and, by extension, other artists’ – art, as well to provide a clearer understanding of the term â€Å"Conceptual art.†9 THE FUNCTION OF ART The main qualifications to the lesser position of painting is that advances in art are certainly not always formal ones. –Donald Judd (1963). Half or more of the best new work in the last few years has been neither painting nor sculpture. – Donald Judd (1965). Everything sculpture has, my work doesn’t. –Donald Judd (1967). The idea becomes a machine that makes the art. –Sol LeWitt (1965) The one thing to say about art is that it is one thing. Art is art-as-art and everything else is everything else. Art as art is nothing but art. Art is not what is not art. –Ad Reinhardt (1963). The meaning is the use. –Wittgenstein. A more functional approach to the study of concepts has tended to replace the method of introspection. Instead of attempting to grasp or describe concepts bare, so to speak, the psychologist investigates the way in which they function as ingredients in beliefs and in judgments. –Irving M. Copi. Meaning is always a presupposition of function. –T. Segerstedt. . . . the subject matter of conceptual investigations is the meaning of certain words and expressions – and not the things and states of affairs themselves about which we talk, when using those words and expressions. –G. H. Von Wright. Thinking is radically metaphoric. Linkage by analogy is its constituent law or principle, its causal nexus, since meaning only arises through the causal contexts by which a sign stands for (takes the place of) an instance of a sort. To think of anything is to take it as of a sort (as a such and such) and that â€Å"as† brings in (openly or in disguise) the analogy, the parallel, the metaphoric grapple or ground or grasp or draw by which alone the mind takes hold. It takes no hold if there is nothing for it to haul from, for its thinking is the haul, the attraction of likes –I. A. Richards. In this section I will discuss the separation between aesthetics and art; consider briefly formalist art (because it is a leading proponent of the idea of aesthetics as art), and assert that art is analogous to an analytic proposition, and that it is art’s existence as a tautology that enables art to remain â€Å"aloof† from philosophical presumptions. It is necessary to separate aesthetics from art because aesthetics deals with opinions on perception of the world in general. In the past one of the two prongs of art’s function was its value as decoration. So any branch of philosophy that dealt with â€Å"beauty† and thus, taste, was inevitably duty bound to discuss art as well. Out of this â€Å"habit† grew the notion that there was a conceptual connection between art and aesthetics, which is not true. This idea never drastically conflicted with artistic considerations before recent times, not only because the morphological characteristics of art perpetuated the continuity of this error, but as well, because the apparent other â€Å"functions† of art (depiction of religious themes, portraiture of aristocrats, detailing of architecture, etc.) used art to cover up art. When objects are presented within the context of art (and until recently objects always have been used) they are as eligible for aesthetic consideration as are any objects in the world, and an aesthetic consideration of an object existing in the realm of art means that the object’s existence or functioning in an art context is irrelevant to the aesthetic judgment. The relation of aesthetics to art is not unlike that of aesthetics to architecture, in that architecture has a very specific function and how â€Å"good† its design is is primarily related to how well it performs its function. Thus, judgments on what it looks like correspond to taste, and we can see that throughout history different examples of architecture are praised at different times depending on the aesthetics of particular epochs. Aesthetic thinking has even gone so far as to make examples of architecture not related to â€Å"art† at all, works of art in themselves (e.g., the pyramids of Egypt). Aesthetic considerations are indeed always extraneous to an object’s function or â€Å"reason-tobe.† Unless of course, that object’s reason-to-be is strictly aesthetic. An example of a purely aesthetic object is a decorative object, for decoration’s primary function is â€Å"to add something to, so as to make more attractive; adorn; ornament,†10 and this relates directly to taste. And this leads us directly to â€Å"formalist† art and criticism.11 Formalist art (painting and sculpture) is the vanguard of decoration, and, strictly speaking, one could reasonably assert that its art condition is so minimal that for all functional purposes it is not art at all, but pure exercises in aesthetics. Above all things Clement Greenberg is the critic of taste. Behind every one of his decisions is an aesthetic judgment, with those judgments reflecting his taste. And what does his taste reflect? The period he grew up in as a critic, the period â€Å"real† for him: the fifties.12 How else can one account for, given his theories – if they have any logic to them at all – his disinterest in Frank Stella, Ad Reinhardt, and others applicable to his historical scheme? Is it because he is â€Å". . . basically unsympathetic on personally experiential grounds†?13 Or, in other words, â€Å"their work doesn’t suit his taste?† But in the philosophic tabula rasa of art, â€Å"if someone calls it art,† as Don Judd has said, â€Å"it’s art.† Given this, formalist painting and sculpture can be granted an â€Å"art condition,† but only by virtue of their presentation in terms of their art idea (e.g., a rectangular-shaped canvas stretched over wooden supports and stained with such and such colors, using such and such forms, giving such and such a visual experience, etc.). If one looks at contemporary art in this light one realizes the minimal creative effort taken on the part of formalist artists specifically, an d all painters and sculptors (working as such today) generally. This brings us to the realization that formalist art and criticism accepts as a definition of art one that exists solely on morphological grounds. While a vast quantity of similar looking objects or images (or visually related objects or images) may seem to be related (or connected) because of a similarity of visual/experiential â€Å"readings,† one cannot claim from this an artistic or conceptual relationship. It is obvious then that formalist criticism’s reliance on morphology leads necessarily with a bias toward the morphology of traditional art. And in this sense their criticism is not related to a â€Å"scientific method† or any sort of empiricism (as Michael Fried, with his detailed descriptions of paintings and other â€Å"scholarly† paraphernalia would want us to believe). Formalist criticism is no more than an analysis of the physical attributes of particular objects that happen to exist in a morphological context. But this doesn’t add any knowledge (or facts) to our understanding of the nature or function of art. And neither does it comment on whether or not the objects analyzed are even works of art, in that formalist critics always bypass the conceptual element in works of art. Exactly why they don’t comment on the conceptual element in works of art is precisely because formalist art is only art by virtue of its resemblance to earlier works of art. It’s a mindless art. Or, as Lucy Lippard so succinctly described Jules Olitski’s paintings: â€Å"they’re visual Muzak.† 14 Formalist critics and artists alike do not question the nature of art, but as I have said elsewhere: Being an artist now means to question the nature of art. If one is questioning the nature of painting, one cannot be questioning the nature of art. If an artist accepts painting (or sculpture) he is accepting the tradition that goes with it. That’s because the word art is general and the word painting is specific. Painting is a kind of art. If you make paintings you are already accepting (not questioning) the nature of art. One is then accepting the nature of art to be the European tradition of a painting-sculpture dichotomy.15 The strongest objection one can raise against a morphological justification for traditional art is that morphological notions of art embody an implied a priori concept of art’s possibilities. And such an a priori concept of the nature of art (as separate from analytically framed art propositions or â€Å"work,† which I will discuss later) makes it, indeed, a priori: impossible to question the nature of art. And this questioning of the nature of art is a very important concept in understanding the function of art. The function of art, as a question, was first raised by Marcel Duchamp. In fact it is Marcel Duchamp whom we can credit with giving art its own identity. (One can certainly see a tendency toward this self-identification of art beginning with Manet and Cà ©zanne through to Cubism,16 but their works are timid and ambiguous by comparison with Duchamp’s.) â€Å"Modern† art and the work before seemed connected by virtue of their morphology. Another way of putting it would be that art’s â€Å"language† remained the same, but it was saying new things. The event that made conceivable the realization that it was possible to â€Å"speak another language† and still make sense in art was Marcel Duchamp’s first unassisted Ready-made. With the unassisted Ready-made, art changed its focus from the form of the language to what was being said. Which means that it changed the nature of art from a question of morphology to a question of function. This change – one from â€Å"appearance† to â€Å"conception† – was the beginning of â€Å"modern† art and the beginning of conceptual art. All art (after Duchamp) is conceptual (in nature) because art only exists conceptually. The â€Å"value† of particular artists after Duchamp can be weighed according to how much they questioned the nature of art; which is another way of saying â€Å"what they added to the conception of art† or what wasn’t there before they started. Artists question the nature of art by presenting new propositions as to art’s nature. And to do this one cannot concern oneself with the handed-down â€Å"language† of traditional art, as this activity is based on the assumption that there is only one way of framing art propositions. But the very stuff of art is indeed greatly related to â€Å"creating† new propositions. The case is often made – particularly in reference to Duchamp – that objects of art (such as the Ready-mades, of course, but all art is implied in this) are judged as objets d’art in later years and the artists’ intentions become irrelevant. Such an argument is the case of a preconceived notion ordering together not necessarily related facts. The point is this: aesthetics, as we have pointed out, are conceptually irrelevant to art. Thus, any physical thing can become objet d’art, that is to say, can be considered tasteful, aesthetically pleasing, etc. But this has no bearing on the object’s application to an art context; that is, its functioning in an art context. (E.g., if a collector takes a painting, attaches legs, and uses it as a dining table it’s an act unrelated to art or the artist because, as art, that wasn’t the artist’s intention.) And what holds true for Duchamp’s work applies as well to most of the art after him. In other words, the value of Cubism – for instance – is its idea in the realm of art, not the physical or visual qualities seen in a specific painting, or the particularization of certain colors or shapes. For these colors and shapes are the art’s â€Å"language,† not its meaning conceptually as art. To look upon a Cubist â€Å"masterwork† now as art is nonsensical, conceptually speaking, as far as art is concerned. (That visual information that was unique in Cubism’s language has now been generally absorbed and has a lot to do with the way in which one deals with painting â€Å"linguistically.† [E.g., what a Cubist painting meant experimentally and conceptually to, say, Gertrude Stein, is beyond our speculation because the same painting then â€Å"meant† something different than it does now.]) The â€Å"value† now of an original Cubist painting is not unlike, in most respects, an original manuscript by Lord Byron, or The Spirit of St. Louis as it is seen in the Smithsonian Institution. (Indeed, museums fill the very same function as the Smithsonian Institution – why else would the Jeu de Paume wing of the Louvre exhibit Cà ©zanne’s and Van Gogh’s palettes as proudly as they do their paintings?) Actual works of art are little more than historical curiosities. As far as art is concerned Van Gogh’s paintings aren’t worth any more than his palette is. They are both â€Å"collector’s items.†17 Art â€Å"lives† through influencing other art, not by existing as the physical residue of an artist’s ideas. The reason that different artists from the past are â€Å"brought alive† again is because some aspect of their work becomes â€Å"usable† by living artists. That there is no â€Å"truth† as to what art is seems quite unrealized. What is the function of art, or the nature of art? If we continue our analogy of the forms art takes as being art’s language one can realize then that a work of art is a kind of proposition presented within the context of art as a comment on art. We can then go further and analyze the types of â₠¬Å"propositions.† A. J. Ayer’s evaluation of Kant’s distinction between analytic and synthetic is useful to us here: â€Å"A proposition is analytic when its validity depends solely on the definitions of the symbols it contains, and synthetic when its validity is determined by the facts of experience.†18 The analogy I will attempt to make is one between the art condition and the condition of the analytic proposition. In that they don’t appear to be believable as anything else, or be about anything (other than art) the forms of art most clearly finally referable only to art have been forms closest to analytical propositions. Works of art are analytic propositions. That is, if viewed within their context – as art – they provide no information whatsoever about any matter of fact. A work of art is a tautology in that it is a presentation of the artist’s intention, that is, he is saying that that particular work of art is art, which means, is a definition of art. Thus, that it is art is true a priori (which is what Judd means when he states that â€Å"if someone calls it art, it’s art†). Indeed, it is nearly impossible to discuss art in general terms without talking in tautologies – for to attempt to â€Å"grasp† art by any other â€Å"handle† is merely to focus on another aspect or quality of the proposition, which is usually irrelevant to the artwork’s â€Å"art condition.† One begins to realize that art’s â€Å"art condition† is a conceptual state. That the language forms that the artist frames his propositions in are often â€Å"private† codes or languages is an inevitable outcome of art’s freedom from morphological constrictions; and it follows from this that one has to be familiar with contemporary art to appreciate it and understand it. Likewise one understands why the â€Å"man in the street† is intolerant to artistic art and always demands art in a tr aditional â€Å"language.† (And one understands why formalist art sells â€Å"like hot cakes.†) Only in painting and sculpture did the artists all speak the same language. What is called â€Å"Novelty Art† by the formalists is often the attempt to find new languages, although a new language doesn’t necessarily mean the framing of new propositions: e.g., most kinetic and electronic art. Another way of stating, in relation to art, what Ayer asserted about the analytic method in the context of language would be the following: The validity of artistic propositions is not dependent on any empirical, much less any aesthetic, presupposition about the nature of things. For the artist, as an analyst, is not directly concerned with the physical properties of things. He is concerned only with the way (1) in which art is capable of conceptual growth and (2) how his propositions are capable of logically following that growth.19 In other words, the propositions of art are not factual, but linguistic in character – that is, they do not describe the behavior of physical, o r even mental objects; they express definitions of art, or the formal consequences of definitions of art. Accordingly, we can say that art operates on a logic. For we shall see that the characteristic mark of a purely logical inquiry is that it is concerned with the formal consequences of our definitions (of art) and not with questions of empirical fact.20 To repeat, what art has in common with logic and mathematics is that it is a tautology; i.e., the â€Å"art idea† (or â€Å"work†) and art are the same and can be appreciated as art without going outside the context of art for verification. On the other hand, let us consider why art cannot be (or has difficulty when it attempts to be) a synthetic proposition. Or, that is to say, when the truth or falsity of its assertion is verifiable on empirical grounds. Ayer states: . . . The criterion by which we determine the validity of an a priori or analytical proposition is not sufficient to determine the validity of an empirical or synthetic proposition. For it is characteristic of empirical propositions that their validity is not purely formal. To say that a geometrical proposition, or a system of geometrical propositions, is false, is to say that it is self-contradictory. But an empirical proposition, or a system of empirical propositions, may be free from contradiction and still be false. It is said to be false, not because it is formally defective, but because it fails to satisfy some material criterion.21 The unreality of â€Å"realistic† art is due to its framing as an art proposition in synthetic terms: one is always tempted to â€Å"verify† the proposition empirically. Realism’s synthetic state does not bring one to a circular swing back into a dialogue with the larger framework of questions about the nature of art (as does the work of Malevich, Mondrian, Pollock, Reinhardt, early Rauschenberg, Johns, Lichtenstein, Warhol, Andre, Judd, Flavin, LeWitt, Morris, and others), but rather, one is flung out of art’s â€Å"orbit† into the â€Å"infinite space† of the human condition. Pure Expressionism, continuing with Ayer’s terms, could be considered as such: â€Å"A sentence which consisted of demonstrative symbols would not express a genuine proposition. It would be a mere ejaculation, in no way characterizing that to which it was supposed to refer.† Expressionist works are usually such â€Å"ejaculations† presented in the morphological language of traditional art. If Pollock is important it is because he painted on loose canvas horizontally to the floor. What isn’t important is that he later put those drippings over stretchers and hung them parallel to the wall. (In other words what is important in art is what one brings to it, not one’s adoption of what was previously existing.) What is even less important to art is Pollock’s notions of â€Å"self-expression† because those kinds of subjective meanings are useless to anyone other than those involved with him personally. And their â€Å"specific† quality puts them outside of art’s context. â€Å"I do not make art,† Richard Serra says, â€Å"I am engaged in an activity; if someone wants to call it art, that’s his business, but it’s not up to me to decide that. That’s all figured out later.† Serra, then, is very much aware of the implications of his work. If Serra is indeed just â€Å"figuring out what lead does† (gravitationally, molecularly, etc.), why should anyone think of it as art? If he doesn’t take the responsibility of it being art, who can, or should? His work certainly appears to be empirically verifiable: lead can do, and be used for, many physical activities. In itself this does anything but lead us into a dialogue about the nature of art. In a sense then he is a primitive. He has no idea about art. How is it then that we know about â€Å"his activity†? Because he has told us it is art by his actions after â€Å"his activity† has taken place. That is, by the fact that he is with several galleries, puts the physical residue of his activity in museums (and sells them to art collectors – but as we have pointed out, collectors are irrelevant to the â€Å"condition of art† of a work). That he denies his work is art but plays the artist is more than just a paradox. Serra secretly feels that â€Å"arthood† is arrived at empirically. Thus, as Ayer has stated: There are no absolutely certain empirical propositions. It is only tautologies that are certain. Empirical questions are one and all hypotheses, which may be confirmed or discredited in actual sense experience. And the propositions in which we record the observations that verify these hypotheses are themselves hypotheses which are subject to the test of further sense experience. Thus there is no final proposition.22 What one finds all throughout the writings of Ad Reinhardt is this very similar thesis of â€Å"artas-art,† and that â€Å"art is always dead, and a ‘living’ art is a deception.†23 Reinhardt had a very clear idea about the nature of art, and his importance is far from recognized. Because forms of art that can be considered synthetic propositions are verifiable by the world, that is to say, to understand these propositions one must leave the tautological-like framework of art and consider â€Å"outside† information. But to consider it as art it is necessary to ignore this same outside information, because outside information (experiential qualities, to note) has its own intrinsic worth. And to comprehend this worth one does not need a state of â€Å"art condition.† From this it is easy to realize that art’s viability is not connected to the presentation of visual (or other) kinds of experience. That that may have been one of art’s extraneous functions in the preceding centuries is not unlikely. After all, man in even the nineteenth century lived in a fairly standardized visual environment. That is, it was ordinarily predictable as to what he would be coming into contact with day after day. His visual environment in the part of the world in which he lived was fairly consistent. In our time we have an experientially drastically richer environment. One can fly all over the earth in a matter of hours and days, not months. We have the cinema, and color television, as well as the man-made spectacle of the lights of Las Vegas or the skyscrapers of New York City. The whole world is there to be seen, and the whole world can watch man walk on the moon from their living rooms. Certainly art or objects of painting and sculpture cannot be expected to compete experientially with this? The notion of â€Å"use† is relevant to art and its â€Å"language.† Recently the box or cube form has been used a great deal within the context of art. (Take for instance its use by Judd, Morris, LeWitt, Bladen, Smith, Bell, and McCracken – not even mentioning the quantity of boxes and cubes that came after.) The difference between all the various uses of the box or cube form is directly related to the differences in the intentions of the artists. Further, as is particularly seen in Judd’s work, the use of the box or cube form illustrates very well our earlier claim that an object is only art when placed in the context of art. A few examples will point this out. One could say that if one of Judd’s box forms was seen filled with debris, seen placed in an industrial setting, or even merely seen sitting on a street corner, it would not be identified with art. It follows then that understanding and consideration of it as an artwork is necessary a priori to viewing it in order to â€Å"see† it as a work of art. Advance information about the concept of art and about an artist’s concepts is necessary to the appreciation and understanding of contemporary art. Any and all of the physical attributes (qualities) of contemporary works, if considered separately and/or specifically, are irrelevant to the art concept. The art concept (as Judd said, though he didn’t mean it this way) must be considered in its whole. To consider a concept’s parts is invariably to consider aspects that are irrelevant to its art condition – or like reading parts of a definition. It comes as no surprise that the art with the least fixed morphology is the example from which we decipher the nature of the general term â€Å"art.† For where there is a context existing separately of its morphology and consisting of its function one is more likely to find results less conforming and predictable. It is in modern art’s possession of a â€Å"language† with the shortest history that the plausibility of the abandonment of that â€Å"language† becomes most possible. It is understandable then that the art that came out of Western painting and sculpture is the most energetic, questioning (of its nature), and the least assuming of all the general â€Å"art† concerns. In the final analysis, however, all of the arts have but (in Wittgenstein’s terms) a â€Å"family† resemblance. Yet the various qualities relatable to an â€Å"art condition† possessed by poetry, the novel, the cinema, the theatre, and various forms of mus ic, etc., is that aspect of them most reliable to the function of art as asserted here. Is not the decline of poetry relatable to the implied metaphysics from poetry’s use of â€Å"common† language as an art language?24 In New York the last decadent stages of poetry can be seen in the move by â€Å"Concrete† poets recently toward the use of actual objects and theatre.25 Can it be that they feel the unreality of their art form? We see now that the axioms of a geometry are simply definitions, and that the theorems of a geometry are simply the logical consequences of these definitions. A geometry is not in itself about physical space; in itself it cannot be said to be â€Å"about† anything. But we can use a geometry to reason about physical space. That is to say, once we have given the axioms a physical interpretation, we can proceed to apply the theorems to the objects which satisfy the axioms. Whether a geometry can be applied to the actual physical world or not, is an empirical question which falls outside the scope of geometry itself. There is no sense, therefore, in asking which of the various geometries known to us are false and which are true. Insofar as they are all free from contradiction, they are all true. The proposition which states that a certain application of a geometry is possible is not itself a proposition of that geometry. All that the geometry itself tells us is that if anything can be brought under the definitions, it will also satisfy the theorems. It is therefore a purely logical system, and its propositions are purely analytic propositions. –A. J. Ayer26 Here then I propose rests the viability of art. In an age when traditional philosophy is unreal because of its assumptions, art’s ability to exist will depend not only on its not performing a service – as entertainment, visual (or other) experience, or decoration – which is something easily replaced by kitsch culture, and technology, but, rather, it will remain viable by not assuming a philosophical stance; for in art’s unique character is the capacity to remain aloof from philosophical judgments. It is in this context that art shares similarities with logic, mathematics, and, as well, science. But whereas the other endeavors are useful, art is not. Art indeed exists for its own sake. In this period of man, after philosophy and religion, art may possibly be one endeavor that fulfills what another age might have called â€Å"man’s spiritual needs.† Or, another way of putting it might be that art deals analogously with the state of things â€Å"beyond physics† where philosophy had to make assertions. And art’s strength is that even the preceding sentence is an assertion, and cannot be verified by art. Art’s only claim is for art. Art is the definition of art. NOTES * Reprinted from Studio International (October, 1969). 1 Morton White, The Age of Analysis (New York: Mentor Books), p. 14. 2 Ibid., p. 15. 3 I mean by this Existentialism and Phenomenology. Even Merleau-Ponty, with his middle-of-the-road position between empiricism and rationalism, cannot express his philosophy without the use of words (thus using concepts); and following this, how can one discuss experience without sharp distinctions between ourselves and the world? 4 Sir James Jeans, Physics and Philosophy (Ann Arbor, Mich.: University of Michigan Press), p. 17. 5 Ibid., p. 190. 6 Ibid., p. 190. 7 The task such philosophy has taken upon itself is the only â€Å"function† it could perform without making philosophic assertions. 8 This is dealt with in the following section. 9 I would like to make it clear, however, that I intend to speak for no one else. I arrived at these conclusions alone, and indeed, it is from this thinking that my art since 1966 (if not before) evo lved. Only recently did I realize after meeting Terry Atkinson that he and Michael Baldwin share similar, though certainly not identical, opinions to mine. 10 Webster’s New World Dictionary of the American Language. 11 The conceptual level of the work of Kenneth Noland, Jules Olitski, Morris Louis, Ron Davis, Anthony Caro, John Hoyland, Dan Christensen, et al., is so dismally low, that any that is there is supplied by the critics promoting it. This is seen later. 12 Michael Fried’s reasons for using Greenberg’s rationale reflect his background (and most of the other formalist critics) as a â€Å"scholar,† but more of it is due to his desire, I suspect, to bring his scholarly studies into the modern world. One can easily sympathize with his desire to connect, say, Tiepolo with Jules Olitski. One should never forget, however, that a historian loves history more than anything, even art. 13 Lucy Lippard uses this quotation in a footnote to Ad Reinhardt’s retrospective catalogue, January, 1967, p. 28. 14 Lucy Lippard, â€Å"Constellation by Harsh Daylight: The Whitney Annual,† Hudson Review, Vol. 21, No. 1 (Spring, 1968). 15 Arthur R. Rose, â€Å"Four Interviews,† Arts Magazine (February, 1969). 16 As Terry Atkinson pointed out in his introduction to Art-Language (Vol. 1, No. 1), the Cubists never questioned if art had morphological characteristics, but which ones in painting were acceptable. 17 When someone â€Å"buys† a Flavin he isn’t buying a light show, for if he was he could just go to a hardware store and get the goods for considerably less. He isn’t â€Å"buying† anything. He is subsidizing Flavin’s activity as an artist. 18 A. J. Ayer, Language, Truth, and Logic (New York: Dover Publications), p. 78. 19 Ibid., p. 57. 20 Ibid., p. 57. 21 Ibid., p.90. 22 Ibid., p. 94. 23 Ad Reinhardt’s retrospective catalogue (Jewish Museum, January, 1967) written by Lucy Lippard, p. 12. 24 It is poetry’s use of common language to attempt to say the unsayable that is problematic, not any inherent problem in the use of language within the context of art. 25 Ironically, many of them call themselves â€Å"Conceptual Poets.† Much of this work is very similar to Walter de Maria’s work and this is not coincidental; de Maria’s work functions as a kind of â€Å"object† poetry, and his intentions are very poetic: he really wants his work to change men’s lives. 26 Op. cit., p. 82.

I.T. Project Risk Management Research Proposal Example | Topics and Well Written Essays - 250 words

I.T. Project Risk Management - Research Proposal Example California Technology Agency (2011) asserts that most of the business managers are not privy of the magnitude IT-related risks in projects management a firm will be exposed. Most of these managers are only able to learn the value of IT-related risks after they have computed the amount of damage the risk has brought about. According to Leong California Technology Agency, (2011) past research studies have primarily been concerned with how effective IT-related risks may be analyzed and compensated for. Therefore, it would be imperative for IT managers constantly to embrace the holistic view of IT project risk management rather than just focusing only on financial issues. There exist little empirical research studies showing the correct way of handling the management of the IT-related projects risks during the launching of the project. Though a myriad of studies have been done in regards to I.T project risk management, (California Technology Agency, 2011, Haney, 2009, Talet, Zin &Houari, 2014, & Texas Tech University, n.d), there is still little empirical research on how effective IT risk management can be handled at the time of executing projects. In this paper, I will attempt to develop a typology of effective strategies that will guide managers to develop specific plans meant to control risk IT

Pro's and Con's of the Chain of Command Essay Example | Topics and Well Written Essays - 1000 words

Pro's and Con's of the Chain of Command - Essay Example It is largely based on the organizational hierarchy and the size of the business. The aspect of ‘Chain of Command’ is termed to be essential for an organization due to the fact that it assists the employees to understand their roles and responsibilities in the organization. It also assists the top managerial team to supervise the organisational operations in a systematic and organized form (Schulman, M. & Kowadlo, B. F., â€Å"Working Smart†). On the contrary, due to the changing scenario of business in the modern era, various disadvantages and complexities are arising in maintaining a specified ‘chain of command’ within an organization. With this concern, the paper shall aim at identifying the various pros and cons of ‘chain of command’ in the managerial aspect. 2. Advantages of ‘Chain of Command’ In the managerial perspective, the aspect of ‘Chain of Command’ is termed to be one of the crucial factors of organi zational behavior. It not only determines the organizational hierarchy but also signifies the roles and responsibilities of every associate in a specified manner. On the whole, it assists the executors of a business to form a well-structured organizational chart, which considers three aspects, i.e. line of authority, line of responsibility and line of communications in the internal environment of the organization (Schulman, M. & Kowadlo, B. ... Hence, it assists the top level managers of the company to organize the company’s operations in a systematic manner (Schulman, M. & Kowadlo, B. F., â€Å"Working Smart†). 2.2. Lines of Responsibility The ‘Chain of Command’ also assists the organizational structure by defining the lines of responsibility. To be precise, the line of responsibility signifies the responsibilities of every participant according to their power of authority and position in the organizational hierarchy (Schulman, M. & Kowadlo, B. F., â€Å"Working Smart†). 2.3. Lines of Communication Apart from determining the lines of authority and responsibility, the ‘Chain of Command’ also specifies the lines of communication, i.e. the flow of information from the top level management to the lower level workers in the organizational hierarchy; and the flow of accountability from the lower level worker to the top level management group (Schulman, M. & Kowadlo, B. F., â€Å"Wo rking Smart†). 2.4. Other Advantages Other than these basic advantages, the implication of ‘Chain of Command’ also has many other pros to benefit the organization and its stakeholders at large. They are as follows: By providing a firm structure of the organizational hierarchy and demonstrating the various lines of authority, responsibility and communication, the ‘Chain of Command’ assists the organization to utilize its resources with minimized wastage It also assists the employees to enhance their managerial, leadership and generic skills Helps eradicating confusion uprising in terms of authority, responsibility and communication in the internal environment of the organization Source: (Mukherjee,

Death penalty Research Paper Example | Topics and Well Written Essays - 1000 words - 2

Death penalty - Research Paper Example In some communities, however, the death penalty among its members was shunned because of the fact that it was forbidden to spill the blood of fellow community members. In such cases, this sentence was often reserved for times of conflict with neighboring communities where captured individuals, especially leaders, were sentenced to death. The continued use of the death penalty to punish a diverse number of crimes in the modern world has come to receive praise and condemnation in equal measure. Those, who advocate for it, argue that it serves as a deterrent to crime, since those who are given the death penalty serve as an example to would-be criminals (Fagan, 2006). Furthermore, they state that there are those individuals, such as murderers, who if sentenced to death, would be good riddance from society. This is because of the fact that they will have been removed from society on a permanent basis, thus ensuring that they are kept from repeating the same crimes that they have committed . They further argue that the death penalty is a just punishment for those individuals who commit such heinous crimes as child murder and serial killing, because these are human beings without a conscience who must be completely removed from society. In addition, they state that the death penalty is completely justified especially when applied to cases where individuals are serial murderers or have committed mass killings; acts which are unforgivable in most human societies in the world (Vollum et al, 2004). It is argued that sentencing such people to death is a means of showing the members of society that such acts cannot be tolerated and that if they are committed, then the lives of the offenders would be forfeit. There are some among those who support the use of the death penalty, who have gone as far as to state that not applying it on people who have committed such crimes as murder and genocide is a miscarriage of justice (Davis, 2002). For them, those who call for the abolitio n of the death penalty are not living in a realistic world, because its abolition is likely to increase the occurrence of terrible crimes in human societies. Furthermore, it is stated that the punishment of a crime must be painful in proportion of the crime committed and this is used to justify the death penalty since leaving murderers alive would be unfair to the families of their victims. The opponents of the death penalty, on the other hand, argue that its application in all manner of cases is a violation of the human rights of the individuals who have committed crimes. They argue that not all of those who are sentenced have a desire to commit murder and that in fact, there are many who only commit murder in self-defense since to do otherwise would have meant their own deaths (Rogoff, 2008). Another argument that they give is that the application of the death penalty is discriminative since most of those people who are sentenced tend to come from minority groups which do not have the resources to get the best representation in the courts (Lynch and Haney, 2000). They state that the use of the death penalty is an act of violence and that its continued use encourages the propagation of a culture of violence within the human society.

Software Development Life Cycle Essay Example | Topics and Well Written Essays - 1250 words

Software Development Life Cycle - Essay Example The processes are going to be employed in a database system required for the London Olympics expected to take place in the near future. The most essential part in Software De3velopment Cycle is defining of the required data; obtaining and clearly indicating the objectives to be carried out (Dhunna & Dixt 2010: 129). To be able to define the objectives and activities taking place during the event, it is required of the analyst to find the data from the organizers. The organizers of the London Olympics are grouped to form the London Olympics Games Organizing Committee (LOGOC). There are many methods that are used in fact finding or gathering. The main methods include questionnaires, interviews, observations, and record inspection. The different methods are employed in certain situations for optimum data gathering (Dhunna & Dixt 2010: 129). The data is defined to be collected from the London Olympic Games organizing Committee. The most effective method in collecting data from the group is through interview. This is because the LOGOC comprises a small group of people; the management team comprises of persons less than thirty. There are two structures in interviews; open and closed structure. The two structures differ in the questions asked during the interview. There are also two type of interview; face to face and group interview (Dennis, Wixom & Roth 2008: 43). The most essential type of interview is the face to face or one on one or personal interview. It gives an opportunity to varied opinion on the same issue hence deeper understanding of the requirements. The interview would employ the closed structure at its initial stages then after the structured questions are responded to, I would employ the open ended structure to ensure that I attain extra information on some data. The information to be attained in the interview include the type of data; the information of athletes that is stored, the types of sports, the arrangements on how the events are to occur, the organizations past information and challenges that the system needs to address (Dhunna & Dixt 2010: 132). The steps to conducting the interview are carried out strategically as they appear; planning, creating the questions, determining the order of conducting the interview and the information consolidating process (Fettke & Loos 2006: 119). The advantages associated with the interview process include easy framing of questions with objective to attain different set of answers, use of the observable non-verbal communication from the interviewee, immediate response, and there is a high response rate (Marshall & Bruno 2009: 221). The interview method therefore offers detailed facts from the outlined advantages. Despite having advantages that are beneficial, the method of use has disadvantages which include time consuming due to the personal conversation with the interviewee, location of respondents may cause inefficiency, it is costly, it brings an interrogative phenomenon to the inter viewee who may decide to control the information she/he gives. The method is also dependent on the interviewer’s perception (Zendler 1997: 21). There are various ways though through which these disadvantages may be overcome. The proximity effect may be controlled by use of video conferencing. The interviewer may be given a warm feeling by the interviewer to avoid the grill or summon view of the interview pro

Quality Essay Example | Topics and Well Written Essays - 1250 words

Quality - Essay Example Improving the performance of trauma units is something that includes ensuring that there is constant monitoring to ensure that beneficial medical techniques are used while also always seeking to identify opportunities that can be used to effect improvements. Some progressive factors that could be used in effecting performance improvement in trauma units include patient satisfaction surveys, keeping records on the incidence of falls in the trauma unit and their consequences, and monitoring the incidence of decubitus wounds in an effort to avoid them from becoming additional threats to a patient’s health. Patient satisfaction-measured with surveys In many medical institutions today, it is an accepted fact that patient satisfaction is one of the principal determinants of quality related issues (Thrasher & Purc-Stephenson, 2008). Moreover, patient satisfaction can be quite challenging for medical practitioners to confront because it tends to be is multifaceted. The reality is that patients’ expectations of what they expect in terms of care are what contribute to their satisfaction. Their expectations may be influenced by different factors such as psychosocial factors like depression and pain. In the trauma unit, issues concerning patient expectations can be even more challenging as the patients may expect doctors and nurses to allocate them more time and empathy than the medical practitioners are willing to give. This is because the trauma center has critically ill patients, and practitioners tend to be more inclined to ensuring that the different methods of treatment are well performed; other than in the importance of being seen to be empathetic to their patients. There may also be time constraints that make it impossible for trauma nurses to allocate time to each and every patient in the unit (Thrasher & Purc-Stephenson, 2008). Moreover, ensuring patient satisfaction is still an important function that ought to be performed regardless of such realit ies. Data Collection Quantitative surveys are the best method of collecting data on patient satisfaction in the trauma unit. In the first place, they are not open-ended and so will not be strenuous for patients who are critically ill and require rest. The questions in the survey can cover different subjects such as the patient’s communication with trauma unit nurses, pain management techniques, the responsiveness of staff in the medical facility, discussion with the medical practitioners about medicinal prescriptions, the cleanliness of the room of the patient, discussions on discharge information, transition of care, and the quietness in the trauma unit (Thrasher & Purc-Stephenson, 2008). Using surveys in collecting such information from patients is beneficial because it allows the patients to understand that their ideas and feelings about their hospital environment are important. Surveys can also allow medical practitioners to be able to quickly correct issues that are conc erning their critically ill patients while also identifying new opportunities to effect new changes that will contribute towards better standards. Hospitals are likely to benefit from making such changes based on patient satisfaction surveys because their patients might recommend them to other people. One disadvantage of using

Qualitative Approaches To Researching Management And Organisation Research Proposal - 1

Qualitative Approaches To Researching Management And Organisation - Research Proposal Example Many European countries host carnivals in the cities and other festivals which are times when the local population indulge in local cultural activities and events that the students may indulge in willingly. On the other hand, accommodation for students entering universities for their first time are often offered and managed by universities, but not all. At times the universities may not have enough university accommodation for all the students they enrol and this brings up a sense of disparity among the students. This means that some of the students who have secured places at the various universities will need to be quiet proactive in getting accommodation definitely from the private sector and other avenues. Other circumstances that may lead to the students look for alternative or private accommodation may be due to the provision of shared rooms by the university that may make some uncomfortable. Other hostels may not be up to the desired standards while some of the students may wish to take university accommodation as they prepare to make their way out to private accommodations that is more to their taste. Whereas this may be the will of the students to get private accommodation, some of the universities are more willing to give the students the options of going ahead with this without any penalties. This research will serve as a basis for university management and organisers to give an overview of the challenges that the students face during their entry period to the universities. There are numerous challenges encountered by students especially foreigners who have no idea of the way things roll in new environments. This research will give an overview to enhancing the accommodation procedures as well as ease the hustle that first years undergo in trying to settle into new environments. There is evidence in some of the universities especially in the United Kingdom of strategic

Art of Negotiation Assignment Example | Topics and Well Written Essays - 500 words - 1

Art of Negotiation - Assignment Example Effective negotiation skills are the solution to every conflict despite the extent of the conflict. Leaving the money on the table is a lose-lose negotiation skill. In a lose-lose situation, both parties in dispute end up being worse off. Each party in this situations feels that they have lost and therefore none claim being discriminated against. In some case, a win-win option is available but the involved parties are not aware. In the case of two prisoners being convicted of similar crimes, a lose-lose, win-lose or win-win situation can happen. This depends on how the criminals individually respond to the allegations against them. If both the criminals confess to the charges are maximum equally sentenced lose-lose situation occurs. If neither of them confesses to the charges and a minimum sentence is laid on them, then they experience a win-win situation. However, if one prisoner accepts and the others decline the allegation at the expense of the other, making his or her opponent face sentence alone, then a win-lose situation occurs. In many countries, elections are bound to have some disputes especially after the announcement of final results. None of the candidates believes and wants to accept the fact that they have been defeated. Therefore, allegations are made on petty issues such as biased counting of votes, bribing of voters, ineffective electoral process, and instrumental failure among others. In such situation, an effective negotiation skill has to be put in place to avoid long and short-term effects to the nation. For instance, war and rivalry among communities. As a negotiator, I would use my negotiating skills in this situation in a wise manner. In the case of some of the allegation by the loser has some basis, the lose-lose situation would have to take place.  

The Effect of Trade Balance on National Income Growth Essay Example for Free

The Effect of Trade Balance on National Income Growth Essay Every country wants to be Just an exporter of goods and services. But since no man is an island, no matter how much exports a country makes, it still has to import at some point. Using the national income identity, Y = National income or GDP C = Consumption I = gross investment G = Government expenditure X = Exports and, M = Imports. From the equation above, the GDP of a country is dependent on consumption, investment, government spending and net exports. Other variables apart, this paper focuses on how exports and imports affect the GDP. Having a high GDP is the aim of every nation but having the right mix of exports and imports is the problem. Some countries live beyond their means by importing more than they export while some export more than they import.

How has psychological well being been measured

How has psychological well being been measured Psychological well-being is an important concern for individuals, communities, and health services throughout the world, not only because of the costs associated with psychological ill-health, but also the loss of quality of life for those affected by and their relatives (Nilsson K W, Leppert J, Simonsson Bo, Starrin B., 2008). Kellam et al., (1975) believe that mental health is broadly perceived to consist of two conceptually independent dimensions. One dimension is the principal component of the traditional psychiatric view of mental health, which is known as psychological well-being, and the other is called social adaptational status (SAS). This dimension provides a societal view of the capability of the role functioning of the individual (Petersen A.C, and Kellam S.G., 1977). Psychological well-being focuses on the individuals feelings and other features of psychological functioning. Self-reports are a primary means of measuring this dimension for individuals who are able to evaluate their own psychological well-being. Many scholars have utilized the term psychological well-being for various aspects of mental health or psychological functioning. A number of researchers have also measured concepts related to our conception of psychological well-being, but have named them differently. Especially recently, scholars have frequently used psychological well-being to describe subjective self-reports about the quality of life (Bradburn and Caplovitz, 1965; Campbell et al., 1976 cited in Petersen et al., 1977). Petersen A.C, and et al., (1977) defined it as an internal, individual view of mental health. In the same line, Peteson et al., (1977) declared that psychological well-being is a multidimensional concept which consists of various aspects of psychopathology, self-esteem and other positive aspects of self. Although it may not be possible to define what Mental Health precisely is (Public Health Institute of Scotland 2003), but it seems necessary to realize the main factors which form a persons mental health or mental well-being. Mental health is generally described as, the ability to develop psychologically, socially, emotionally, intellectually and spiritually as well as the ability to, initiate, develop and sustain mutually satisfying relationships, use and enjoy solitude, become aware of others and empathise with them, play and learn, develop a sense of right and wrong and to face and resolve problems and setbacks satisfactorily and learn from them (Edwards 2003). Moreover, the measurement of health outcomes is essential to the development of health services (Hopton J L, Hunt S M, Shiels Ch, and Smith C. (1995). The Scales of Psychological Well-Being measure (SPWB) (Ryff, 1989) includes 84 items rated from 1 strongly disagree to 6 strongly agree. The SPWB consists of six subscales with 14 items in each. These are: (a) self-acceptance, (b) positive relations with others, (c) autonomy, (d) environmental mastery, (e) purpose in life, and (f) personal growth. Ryff has demonstrated the SPWB as a reliable and valid measure of well-being (1989b; Ryff Keyes, 1995). Cronbachs alpha for the 20-item scale ranged from .86 to .93 and there was excellent test-retest reliability over a six-week period (R: range from .81 to .88). The generic 22-item Psychological General Well-being Index (PGWB) has shown to be the most commonly employed questionnaire to assess psychological well-being in adult with a problem such as growth hormone deficiency (GHD) (Dupuy HJ, 1984). This questionnaire consists of six subscales (Anxiety, Depression, General Health, Positive Well-being, Self-control and Vitality), and a Total score. Yet, General Well-being Index (GWBI) is another generally used scale which is employed in problematic situation. This scale is known to be very similar to the PGWB with only some minor differences in vocabulary, for instance blue becomes sad on the British version, five response categories rather than the six, and also question order. In two samples of British patients with depression validation of the GWBI showed construct validity and high internal consistency reliability for the whole scale (in the range 0.92 0.96) (Hunt SM, McKenna SP., 1992). The GWBI contains 22 questions, each with five response options (scoring from 1 to 5). The options have been worded in a different way for each question, to define the intended meaning (e.g. During the past two weeks, have you been waking up feeling fresh and rested? Every day Most days Less than half the time Not often Not at all). As it is clear, half of the items are positively worded and the other half negatively. There are no reco mmended subscales. The GWBI Total score is the sum of all 22 items (after reversing the negatively-worded items), and ranges 22-110. Higher scores designate worse well-being (McMillan C V et al., 2006). McMillan C V et al., (2006) examined reliability, structure and other aspects of validity of GWBI in a cross-sectional study of 157 adolescents with treated or untreated growth hormone deficiency (GHD), and sensitivity to change in a randomised placebo-controlled study of three months growth hormone (GH) withdrawal from 12 of 21 GH-treated adults. The findings demonstrated that respondents found both questionnaires acceptable. Factor analyses did not show the existence of useful GWBI subscales, but confirmed the validity of measuring a GWBI Total score. The W-BQ12 is recommended more than the GWBI to assess well-being in adult GHD; it is to a great extent shorter, has three useful subscales, and has greater sensitivity to change. Another generic measure of psychological well-being is the Well-being Questionnaire (W-BQ). The 12-item version, the W-BQ12, is derived from the longer W-BQ22. W-BQ12 This has been employed in several studies to assess the effects of new treatments and interventions in diabetes (Bradley C, 1994), a condition for which it has good internal consistency and validity (Plowright R, Witthaus E, Bradley C., 1999). The W-BQ12, nevertheless, has less respondent burden than the W-BQ22, and redresses an imbalance between numbers of positively worded and negatively worded items in the longer questionnaire (Riazi A, Ishii H, Barendse S et al., 1999). Hopton J L, Hunt S M, Shiels Ch, and Smith C. (1995) also investigated the validity of a 22 item measure of psychological well-being and the adapted common well-being index (AGWBI) in 266 patients, who ranged about 16 or over years old, drawn from the computerized list of one general practice in UK. The findings are largely supportive of the validity of the AGWBI and propose that it may be suitable in the evaluation of several developing areas of primary care. In Barlow J. H, Cullen L. A, and Rowe. L. F study on 82 rheumatoid arthritis patients, the psychological well-being was evaluated employing the hospital anxiety and depression scale (HADS) (Zigmond A.S, and Sniaith R. P., 1983). The HADS contains 14 items (7 for anxiety and 7 for depression), which is quick and easy to complete, and posses established reliability and validity (35). The HADS was designed to identify the presence and severity of relatively mild degree of mood disorder in non- psychiatric, hospital out-patients. S cores range from 0 to 21, with the higher scores signifying greater anxiety and greater depression (Moorey Greer S, and Watsa M, et al., 1991). In a number of studies, scholars have utilized General Health Questionnaire (GHQ) for evaluating well-being over a whole lifetime (Nilsson K W, Leppert J, Simonsson Bo, Starrin B., 2008). Goldberg D.P et al. (1970) designed the GHQ to detect psychiatric disorder. This questionnaire evaluates the individual present functioning from his or her usual state. GHQ has several types such as 60, 32, 28, and 12 items but the most popular type of the GHQ is 28 items which has four subscales as follow: A. Somatic Symptoms (items 1-7) B. Anxiety/Insomnia (items 8-14) C. Social dysfunction (items 15-21) D. Severe depression (items 22-28) These individual subscales are merely used for diagnosis of information and identification purposes, while the total subscales score is used. Ryff (1989) developed a multidimensional model designed to capture the broad elements of eudemonia. And six dimensions of well-being are identified which include: self-acceptance, positive relations with others, autonomy, environmental mastery, purpose in life, and personal growth. The Scales of Psychological Well-Being (PWB; Ryff, 1989) indicates the ways in which people react to a range of specific experiences, such as community relocation (Ryff Essex, 1992). Ryffs measure of PWB is relevant to analysis of experience of either advantage or adversity over the lifetime (Ryff Singer, 1996 cited in Grossbaum M F, and Bates G W. (2002). The Scales of Psychological Well-Being measure (SPWB; Ryff, 1989b) contains 84 items rated from 1 strongly disagree to 6 strongly agree. This scale also consists of six subscales with 14 items in each. These are: (a) self-acceptance, (b) positive relations with others, (c) autonomy, (d) environmental mastery, (e) purpose in life, and (f) personal growth. Ryff (1989b; Ryff Keyes, 1995) established the SPWB to be a reliable and valid measure of well-being. Cronbachs alpha for the 20-item scale ranged from .86 to .93 and over a six-week period the reports showed excellent test-retest reliability (rs range from .81 to .88). Allardt (1981) suggested a model for evaluating well-being in academic setting. Allardts model of well-being is categorized in to four variables of (1) school condition (having), (2) social relationship (loving), (3) means for self-fulfilment (being) and (4) heath status. The School well-being model origins from Allardts sociological theory of welfare and is constructed to measure well-being in educational settling (Konu Rimpela, 2002). In this model, well-being is associated with teaching, education, learning activities and outcomes. Allardts model Means for self fulfilment contains situation for each student to act according to his/her own resources and capabilities. Health status is assessed based on students symptoms, diseases and illnesses. The main preference of this model is due to its diverse sub categories of well-being in students life in educational centre as well as considering the impact of pupils homes and neighbourhood. Allardth further in 1989 developed his model cross tabulating having, loving and being with the dichotomy of objective and subjective indication and obtained six cells of different types of indicators. According to the literature, Allardth model is employed in this relationship study to measure international students well-being.

Jack The Ripper :: essays research papers fc

Jack the Ripper   Ã‚  Ã‚  Ã‚  Ã‚  Jack the Ripper killed five women between the 31st of August 1888 and the 9th of November 1888. They were murdered in Whitechapel and Spitalfields in the East End areas of London, England. The killer was never caught and because of this there are hundreds on his personality and motives. No other killer in the British history rivaled that of the gruesome, mocking, utterly superior Jack the Ripper, a multiple murderer whose arrogance and boldness deified the entire police department of London and held in terror a great city for as long as he cared to roam its streets and slay at will.   Ã‚  Ã‚  Ã‚  Ã‚  Mary Ann “Polly'; Nichols, aged 42, was the first of the Ripper victims, according to dedicated Ripperologists. Her body was found on Buck’s Row by a patrolling constable at 3:15 a.m. on August 31st 1888. The ripper had slashed her throat twice, and her abdomen had been savagely cut exposing the intestines. Her vaginal area had also been mutilated. The woman approximately five feet two inches tall with brown graying hair, brown eyes, and several missing teeth. Mary Ann Nichols had a drinking problem and spent most of her life making her earnings as a prostitute. She was a sad, destitute woman, but one that most people liked and pitied.   Ã‚  Ã‚  Ã‚  Ã‚  Annie Chapman, known to her friends as “Dark Annie';, was a 47 year old homeless prostitute. Suffering from depression and alcoholism, she did crochet work and sold flowers. Eventually she turned to prostitution despite her plain features, missing teeth and plump figure. She was found murdered on Saturday, September 8, 1888. Hey throat was cut and she had been very mutilated. Her abdomen had been cut open and the intestines had been removed and placed on her shoulder. The contents of the pelvis including her female organs and the bladder had been removed. No trace of these parts was found. The incisions were cleanly cut, the work obviously of an expert who had knowledge of anatomy and physiology   Ã‚  Ã‚  Ã‚  Ã‚  Elizabeth Stride was born on November 27, 1843 in Gothenburg, Sweden. She was a well-liked woman who people nicknamed “Long Liz';. While she may have occasionally prostituted herself, for the most part she earned a living by doing sewing or cleaning work. She had blue eyes and wavy brown hair. She was also plump and missing several teeth. She was found murdered on Sunday, September 30, 1888.

How the Houses in Thrushcross Grange and Wuthering Heights Compare :: Emily Bronte Literature Essays

How the Houses in Thrushcross Grange and Wuthering Heights Compare Wuthering Heights and Thrushcross Grange are two exact opposites separated by the neutral territory of the moors, a dreamlike place thought of as heaven by Heathcliff and Catherine. Although both estates are wealthy, there is a definite difference in class between them and this bears greatly on the characters from both estates ability to socialise with each other. The two different buildings have their own strengths and weaknesses and the characters reflect their features. On the one hand there is Wuthering Heights with its stark and intimidating appearance but strong magnetism representing savagery and Thrushcross grange with its refinement and pleasant appearance representing civility. Wuthering heights has the characteristics of being a very strong, prominent structure and is described by Mr Lockwood as being a misanthropists heaven. It is a very desolate and lonely place up on a hill exposed to stormy weather with no real beauty and can be seen as an uncivilised place to live. Thrushcross Grange is a very classy, civilised estate and living in a place like this would bring a lot of status with it. It is quite a sheltered place down in the valley and this is something that is common with its children - they tend to be sheltered and spoilt. Thrushcross grange is comfortable and decorative whereas Wuthering Heights is basic and down to earth. Whilst Wuthering Heights has great power in its commanding position up on the hill, it will never be in the same class as the Grange. The features of the estates have a strong association with the people who live in them in terms of mood, emotion and appearance. Heathcliff is a very dark and stormy character of Gypsy blood and is the person who has the greatest association with Wuthering Heights. Mr Earnshaw who found him alone and starving introduced him to the place as a child where he grew up with Catherine and Hindley as an interloper. In adulthood he becomes more and more antisocial and puts up a stone barrier when it comes to showing his emotions. He and the building suit each other as though they were one and the same because whilst he displays all the strength and pride of the Heights, he also has the roughness. Isabella is Edgar Linton's sister and although being a pleasant, well-educated person has the soft and civilised traits of Thrushcross Grange. Heathcliff marries her as a way of revenge against Cathy and Edgar and as part of his overall plan to own both estates. Not realising Heathcliffs intentions she is taken in by his magnetism and strength but is too soft a character to stand up to his might and

The Grapes of Wrath - Questions and Answers :: The Grapes of Wrath John Steinbeck

Grapes Of Wrath: Questions and Answers What are the chief reasons for the mass migration to California? Â   I think that the chief reasons for the mass migration to California where based on a few different reasons. The first reason was because everyone was poor. They didn't have enough money to have the most basic necessities in life. They would even go to such lengths as to steal a neighbors house. No body was happy living in Oklahoma. They all had such hard lives that no one had time to do what they wanted to do. It was farm from sun up to sun down. That is what everyone did, and they didn't even get that much compensation for all the devotion that they put into their work day, after day, after day. If I worked at something for twelve hours a day, and just made hardly enough money to keep living, I would get quite frustrated and not be very happy at all. Â   Another reason that people moved to California was so they could move on to a better place. Living in Oklahoma, really wasn't all that good for the Joad's. They couldn't be very happy at what they had. They where a very proud family and wanted to get away and show everyone that they could do some good in this world for themselves. Â   Who are the members of the Joad family unit that set out for California? Briefly state what happens to each of them. Â   Ma, Pa, Ruth, Winfield, Uncle John, and Rose of Sharron all where in the barn. Rose of Sharron was breast feeding a old man, after her baby died. I think she was doing it for personal pleasures. I don't think that she was sincere about the feeling to prolong the mans life. She was always selfish, and I still think she was at the end. I don't blame Connie for leaving her. Al left with his fiancee named Aggie, to start a new life with her. Tom left to become another Jim Casey. He knew what the power of groups could do, the listed to Jim, and knew that he could make a difference. Grandpa died, of natural causes, and they buried him in a field, tore a page out of the Bible and wrote how he wasn't killed, and he died of natural causes.

Starry Night Over the Rhone

Starry Night Over the Rhine was painted along the banks of the Rhine River. What I first see when I look at this painting is the city lights reflecting off the water while a couple takes a walk on the nearby shore. The sky is filled with stars, including the Great Bear, commonly known as the Big Dipper. Van Gogh shifted the sky around in order to create an even more extraordinary display of stars. From his point of view the town of Arles lay to the south west; the Big Dipper he painted in the sky was actually in the north behind him.Towards the left you can see the towers of Saint Julienne and Saint Trophies, and the bridge connecting Arles to Tranquiller on the right. In the far horizon, a church steeple is shown. Starry Night Over the Rhine was described in a letter from Vincent Van Gogh as a cheerful piece, but when the painting was finished almost a year later, it had a revised mood and meaning. The work is dark, but serene. Many believe that the swelling depression in Van Gogh d istorted the original sketch's romantic charm.This painting is a reflection of inner torment and mental distress. The animated strokes, the bright, vivacious colors of the stars contrasting against the dark blues and blacks of the night reveal his cry for hope, light and love. The focal point of Starry Night Over the Rhine is the constellation of the Big Dipper. Vincent Van Gogh brings attention to the Big Dipper by using color and value. The sky is the lightest shade of blue around the Big Dipper. The bright yellow stars in the constellation contrast with the blue to bring focus to them.Van Gogh uses the lines in the ground under the couple and around the edge f the water to make a circular motion that brings the eyes back to the focal point of the Big Dipper. Van Gogh also uses contrasting directional lines in the sky to make the stars stand out. The texture of the entire painting is very thick because of the method of impasto that Van Gogh used. A closer look at the Starry Night Over the Rhine reveals that Vincent Van Gogh gave equal visual weight to all the things that he painted. In this painting there is no visual distinction between the earth and the sky.Van Gogh shows unity throughout the piece with the lights, both natural and an-made. For every star or group of stars there is a city light or group of lights, which then has a reflection in the water. At the waters' edge near the couple, it is nearly impossible to see the distinction between land and water. The low contrast makes it hard to tell whether the ship is sinking in the water, or merely Just docked. The bright lights have a high contrast to the dark blue-black sky and water. The way the water is depicted creates a rhythm that gives the illusion of waves rippling.The Starry Night Over the Rhine is an oil painting on canvas and the technique is broad ND sweeping brushstrokes. Vincent Van Gogh also used the technique of impasto in this painting. Impasto is very thick application of paint, usuall y wet on wet. This technique gives the painting texture and movement. Van Gogh painted rapidly, with a sense of urgency, using the paint straight from the tube. Van Gogh painted emotionally, trying to â€Å"throw his heart onto the canvas† and evoke feeling. (http:// www. Ratable. Com/artists/Vincent_van_Gogh/paintings/starry_night_over_the_Rhine) When I look at The Starry Night Over the Rhine, I feel infinite.This painting makes me feel at peace, like I could Just look at it forever. It reminds me of the song â€Å"Bella Note† from Lady and the Tramp. A quote I particularly like from Vincent Van Gogh is â€Å"l don't know anything with certainty, but seeing the stars makes me dream. † This painting truly exhibits this quote. The Starry Night Over the Rhine is magical and beautiful. It is one of very few pieces of artwork that I feel this way about, which is why I selected it for this assignment. I can not imagine a better piece of art to own.

Petruchio the Sophist and Language as Creation in The Taming of the Shrew Essay

In the article, Tita French Baumlin shows how Petruchio uses language and not brutality to â€Å"tame† Katarina. Petruchio also changes the way that people view Katarina. This brings up the question if Katarina is really tamed or if it is all just a front. I believe that Katarina learned how to disguise her feeling and simply changed the way she speaks by mimicking her husband. Petruchio speaks eloquently and very elaborately. When he is introduced he is already playing on word while asking Grumio to knock on a gate for him. Petruchio is a match for Katarina because of how good he is with words. He can go toe to toe with her, unlike many of the people who have to deal with Katarina, because of this â€Å"rhetorical skill, that most defines his character†. Petruchio is also someone who can reason or convince someone of something simply through his language. For example, he easily makes Baptista believe that Katarina loves and wants to marry him quickly. He proves that the best way to battle and beat Katarina’s sharp tongue was to verbally fight back with wit. Baumlin points out that Petruchio never hits Katarina to tame her though many other similar stories have the husbands beating their wives into submission. While Pertruchio hits Grumio and his other servants in front of Katarina, he never puts his hand on her. Even when he forces her not to eat or sleep â€Å"Petruchio himself does not eat or drink when his wife is so deprived†. Petruchio does not inflict pain on Katarina that he does not bear himself. He uses only his language to change her shrewish behavior instead of actual abuse. Katarina had been given a chance to not only change as a person for her own good, but to also change the way other view her. Her family believes that no one will want to marry her. Everyone in town believes she is sharp tongued and a shrew. Katarina has an anger problem perhaps because of the way her sister is treated as opposed to how she is by their father and other men in town. This anger has given her a very bad reputation. Petruchio comes and gives her the opportunity to change that. He starts by simply calling her Kate and in that new name comes the possibilities of becoming a new person. Baumlin infers that Petruchio â€Å"seeks to shatter the ‘Katherine’ persona†. Perhaps Katarina was also sick of people thinking she was this unlovable shrew woman who would never make a man happy. It is hard to change the way a person behaves, which is why Katarina resists Petruchio at first but by the end of the play Katarina definitely as undergone some sort of change. She is no longer mean spirited and seems to obey her husband as well. Did Petruchio really tame Katarina? I believe that Petruchio taught Katarina how to use her words in a better way to get what she wants. She didn’t want to have to deal with Petruchio’s annoying â€Å"taming† techniques anymore, so she changed the way she spoke to him to appease him. If Katarina had really been tamed, I do not think that she would have given the long speech at the end of the play. It would have been Petruchio to give the speech because he was the one who proved that he could tame Katarina. Instead, Katarina gives not only a long speech but one she knows would please her husband. She has learned to speech his elaborate fashion and she also mimics his absurd ways of speaking as she claims that the wife’s hand must be underneath her husband’s foot. This is also the first time that Katarina speaks for such a long time without Petruchio chiming in, which shows that she has learned how to keep him quiet instead of it being the other way around. I think that Kate has figured out how to humor her husband and avoid conflict rather than allowing herself to be tamed. She uses her words to convince Petruchio and others of her â€Å"taming† but in the end she gets the husband that she wants. She also makes herself look like the wife than her much sought after sister, Bianca. By the end of the play, Katarina has become a winner. Baumlin makes many good points on how Petruchio’s language is a major part of the play. It shows that Shakespeare creates witty characters for more than just a laugh, but also to hint at what is going to happen in the play. Katarina’s overall tone in the play changes as she learns how to create situation in her favor using language as well. Katarina is still a shrew, just in disguise.

Application Letter Essay

I am writing to apply for the position of fireman in the Bureau of Fire and Protection. As requested, I am enclosing a completed job application, my certification, my resume and three references. The chance presented in this listing is very interesting, and I believe that my strong practical experience and education will make me a very competitive candidate for this position. The key strengths that I possess for success in this position include: I am magnificently physically fit and capable in order to sustain the job’s high level of emotionally, mentally and physically demanding activity. I am always ready to jump into action despite the down periods in my job. In addition to attempting to put out fires that might need to help treat victims and perform other vital life-saving or public functions, I provide exceptional contributions to safety of those involved in a fire and offering medical aid to the injured. With a BS degree in Computer Technology and a Civil Service Exam passer last  October 2013, I have a full understanding of the full life cycle of being a fireman. I also have experience in learning and excelling at new technologies as needed. Please see my resume for additional information on my experience.

Critically Discuss And Evaluate The Labour Government

Labour Government came to power in 1997, conveying a immense investing to the early old ages attention and instruction of kids. Announcing in the Childrens Plan, how it aims to do this state the best topographic point for kids to turn up. ( Winter, 2008 ) The National Childcare Strategy aimed to advance the wellbeing of kids, whilst back uping parents to accomplish a balance between work and household life by supplying high quality child care ( Potter, 2007 ) . Previously Governments had left childcare chiefly to household and private services, nevertheless the Labour Party are at the head of advancing the benefits of holding a high quality instruction. The National Curriculum topics of 1988 provide the anchor of the course of study and there was considerable mismatch between the new purposes and the specifications for the assorted topics. ( Ward, 2009 ) Since 2003 efforts in the UK to back up an aims-based course of study – that is to state, a course of study in which purpose s, one time selected, are to be realised by the most appropriate curricular agencies, instead than one in which purposes and course of study remain separate. Both Holmes and Nunn argued, in different ways, for a developmentalist history of acquisition, and this in bend left hint in both the Hadow and the Plowden Reports. ( Alexander, 2009 ) However, in the late sixtiess Robert Dearden produced a powerful review of the ‘child-centred ‘ place represented in these studies. Richard Peters emphasised the acquisition of cognition and apprehension for its ain interest and several outstanding theoreticians have followed him in this. More popular histories over the last 40 old ages of what instruction should be for hold tended to polarize this position and the position that kids should be allowed to develop of course, normally to the disadvantage of the latter. ( Alexander, 2009 ) Robert Dearden ‘s ain history, in footings of fiting scholars for a life of personal liberty within a moral model, has been developed farther by later authors. In recent decennaries the inclination of philosophical Hagiographas has been towards puting specific purposes like Dearden ‘s within larger scenes, so that their principle becomes more limpid. ( Alexander, 2009 ) There has therefore been much work on the publicity of personal wellbeing as a cardinal purpose, this being seen as a more inclusive construct than personal liberty. These philosophical geographic expeditions are now going progressively relevant to policy-making, given that well-being underpins the 2004 Children ‘s Act, the five Every Child Matters results and the 2007 Children ‘s Plan. The relationship between personal wellbeing and morality has besides been explored. The importance of instruction for continued development and planetary consciousness has become particularly outstanding in rece nt old ages. ( Parton, 2006 ) Many of these thoughts have impacted on authorities policies on purposes over the last 40 old ages, and have proved influential in course of study deliberations. Pressure for authoritiess to bring forth non merely lists of purposes but besides defendable principles for how they fit together continues, the progressively holistic histories of the theoreticians could good be of service. ( White, 2008 ) The involvement in the early old ages has besides been spurred by new research and scholarship in Fieldss such as neuroscience, developmental psychological science, and economic sciences. The release of the National Academy of Sciences study From Neurons to Neighborhoods ( Shonkoff and Phillips, 2000 ) brought new attending to research on early encephalon development and the importance of experiences in the early old ages for kid wellness and developmental results. At the same clip, economic expert James Heckman was stressing the importance of the early old ages for human capital formation, reasoning that investings made in the early old ages would put the foundation for larning in those old ages and in the hereafter ( Heckman and Lochner, 1999 ) . Heckman has besides joined with developmental psychologists in stressing that both cognitive and non-cognitive facets of development are eventful for ulterior life opportunities ( Heckman, 2003 ) . Further thrust for the turning involvement in early old ages policy is the handiness of strict grounds that high-quality intercessions can better kid development in the early old ages. Surveies of plans such as Nurse-Family Partnerships have found that high-quality early old ages plans can better kid wellness and development for deprived kids, in both cognitive and non-cognitive spheres ( Springate, 2008 ) . These consequences provide evidences for optimism that well-crafted policies could play a function in contracting spreads in school preparedness. At the same clip, nevertheless, there are clearly some bounds to what early old ages plans can carry through ( White, 2008 ) . Some part of the differences that emerge in the early old ages will be due to factors that are non readily altered by policy. A farther challenge is that non all early old ages plans are every bit effectual, high-quality plans are non cheap, and even the most promising theoretical account plans may non work ever y bit good when delivered on a large-scale. ( Springate, 2008 ) There are besides thorny issues to be grappled with sing the extent to which such plans are best delivered universally or targeted to disfavor groups. However, the historical bequest found in the re-emergence of the developmental attack in the Early Years Foundation Stage ( EYFS ) for kids aged 0-5, overlapping the primary stage of Early Learning Goals are specified for each of the six EYFS Areas of Learning and Development are in England the continuity of traditional topic, ( Kwon, 2002 ) but the topics had to be antiphonal to a new set of national purposes, interdisciplinary work encouraged, and scenes freer to invent their ain course of study within statutory restraints. The overall national purposes are treble: to enable all immature people to go successful scholars, confident persons, and responsible citizens. ( Pugh, 2005 ) The course of study is one that integrates attention, instruction and teaching method and this is apparent in the course of study papers which emphasises how kids should larn instead than what kids should larn. The EYFS comprises legal demands associating to larning, development and public assistance. It brings together the acquisition, development and public assistance demands and ends the differentiation between attention and acquisition and between the birth to three and three to five proviso. ( Kenny, 2006 ) Multi-agency partnership is indispensable to the bringing of the EYFS purposes. Percy-Smith ( 2006 ) provides a reappraisal of the grounds related to the development, bringing and effectivity of strategic partnerships. She argues that local strategic partnerships supervising and commissioning kids ‘s services have an of import portion to play in presenting the Government ‘s Every Child Matters ( ECM ) docket. Change for Children docket, the Children Act 2004, counsel on Lead Professionals, undertakings such as the execution of the Newborn Hearing Screening Programme, and the enlargement of Certain Start. ( Perry-Smith, 2006 ) The national rating of Early Support ( ES ) , the cardinal authorities programme designed to better multi-professional service proviso. ( Young, 2006 ) Equally good as research and rating of plans showing a strong instance for extremely qualified staff in early childhood scenes there is besides the inquiry of what type of staff will be needed in the hereafter. As we move towards more incorporate service bringing staffing becomes an issue ( Cameron, Mooney & A ; Moss, 2002 ) . In New Zealand considerable authorities outgo has been directed towards accomplishing a to the full qualified instructor work force by 2012 ( New Zealand Education Review Office, 2004 ) . A extremely trained and skilled work force is indispensable to supplying high quality child care. Presently the sector as a whole invest little in staff preparation and development, rewards are besides inveterate low. ( Broadhead, 2007 ) If the EYFS is to be delivered efficaciously preparation and support is indispensable non merely for new entrants to the work force but besides for bing staff. It is likely that authorities financess will necessitate to be invested to guaranti ng that all scenes are able to present the course of study. The presence of extremely qualified and experient staff has been systematically linked to high quality interactions between kids and grownups, and this is an of import factor in the societal, linguistic communication and cognitive development of kids in group scenes. Research indicates that specialised early childhood staff engage in well more developmentally appropriate interactions with kids of all ages ( Phillips, 1987 ) . The links between higher degrees of qualified staff and positive results for kids have been established ( Phillips, Mekos, Scarr, McCartney & A ; Abbott-Shim 2001 ) . hypertext transfer protocol: //www.cypnow.co.uk/Archive/929092/Early-Years-Foundation-Stage — -difference-year-made/