Poem Essay Example | Topics and Well Written Essays - 500 words

Poem - Essay Example The poem can be taken to be a sort of ode to the women’s liberation movement. It is about a woman who does not follow what is expected, but rather marches to the beat of her own drum. A woman, who is dubbed as crazy, because she is not one to follow societal rules, is the subject of this poem. This poem is written by an African American woman; that factor causes this poem to carry even more meaning, as now we see someone who is burdened doubly by the society, both for being African-American and for being a woman, and yet she is brave enough to cast rules aside and live her life according to her own whims and desires. The fact that she terms those who stare at her odd ways as â€Å"little people† is testament to the fact of her low opinion regarding them. This is, indeed a beautiful piece of work that relates, in a few lines the experience of a woman who wants to live life at her own terms. I found it to be very refreshing, as we live in a world where people often obey s ocietal rules unquestioningly, to have someone who does not do so gives me hope that there will always be people who will question the status quo of things. Equality – Maya Angelou Maya Angelou’s poem Equality talks about, as is apparent from its title, equality. In this poem, she is trying to make out a case for those who are oppressed, as they call out and profess their desire to be considered equal. This poem can have a twofold meaning.

History Of Danish Furniture Design Cultural Studies Essay

History Of Danish Furniture Design Cultural Studies Essay Scandinavia is generally well-known for its design represented by pure and simple lines which is focusing on users needs. Nowadays people generally meet with design from north mainly in IKEA store however this is only one direction which was developed from Scandinavian Modernism with its origin in 1920 as Fiells (2002, pp. 8,16,18) explain. Denmark as one of the Scandinavian country also excels in design and especially in furniture objects. For example name as Arne Jacobsen speaks for success of Danish furniture design from 1950s and 1960s as this period has been so far the most celebrated (Danish Design Centre, 2009) not only among Danes. However does this affirmation automatically leads to a conviction that the same can be asserted about Danish graphic design? It should not be a matter of fact to consider that product design and graphic design are developing the same and therefore they need to be on the same level. These two disciplines are not identical to which heads an attitude that Danish graphic design is in the shadow of Danish furniture design. To advance towards to the design situation in Denmark this work will concentrate on development of these two art disciplines from their beginnings through the contemporary works up to the young artists and companies who supposedly can form the future of the furniture and graphic design in Denmark. 2. HISTORY OF DANISH FURNITURE DESIGN To better understand why Danish product design and specially furniture design became internationally rather well known than the graphic design, in the first following paragraphs will be described certain parts of the history which had an impact on the development of design in Denmark. Furthermore these two areas of design will be firstly analysed separately based on historical consecution which caused future international success or failure of these disciplines. One of the most iconic design from Denmark according to Fiells (2002, p. 30) which brought fame to Danish furniture design is a chair number 3107 created by Arne Jacobsen. However before all of the achievements of this talented man can be enumerated, much more have to be described from the history of Denmark. Fiells (2002, pp. 20,22) indicate that Danish tradition of craftsmanship go down back up to the Viking Age when Danes learned how to process existing materials for producing objects for everyday use. With such deep history of craftsmanship, they were able to learn how to create quality made products. Nevertheless the production of industrial design absolutely began at the end of eighteenth century by foundation of Royal Copenhagen Porcelain Manufactury. During many years Danes were influenced by various elements but the main principles always stayed the same. Function, beauty and good choice of material can be found in almost all designs which were created in Denmark even tens y ears ago. The Authors who are engaged in the theme of Scandinavian design (Fiells, 2002, p. 23; Bhaskaran 2005, p. 168) clarify that all these elements formed in late 1930s art movement Danish Modernism which is a part of Scandinavian Modernism and last up to the present days. 2.1 Kaare Klint Since there are many significant designers in the history of Denmark it is impossible to mentioned all of them. Therefore only the most important names which moved Danish design forward will be presented. As Fiells (2002, p. 352) assert, Kaare Klint was the first furniture designer who accentuated the importance of proportions of human body with a design of chairs. With his students at Royal Danish Academy of Fine Arts in Copenhagen at the furniture department he examined previous styles in order to develop better objects which would satisfied user even more. This different approach towards a process of designing helped him for example to create in 1933 the Deck chair (figure 01). This specific rest chair let to relax head due to added pillow or legs by movable lengthening part. By his unique attitude Klint influenced many of his students and moved Danish furniture design to another level. Furthermore as Fiells (2002, p. 23) emphasise since the days of Kaare Klint the origins of Dani sh and Scandinavian Modernism can be dating. 2.2 Poul Henningson designer of PH lamps In relation to the iconic Danish design objects, the PH lamps (figure 02) need to be involved. PH stands for the name of Poul Henningson who produced during his life more then 100 projects of lights as Fiells (2002, p. 243) indicate. Henningson as Klint also came with new approach, however not to the design of furniture but to the lightning. As Fiells (2002, p. 26) point Poul Henningson demanded a new view to the design. With an invention of light bulb the designer himself argued (Louis Poulsen Lighting, 2008) that not many lamps creator knew how to design pleasant artificial light. Henningson studied stages of the daylight and tried to applied found knowledges to his design of lightening. As Fiells (2002, p. 242) emphasize, Henningson was able to create set of lamps with shadings and coloured edges which did not illuminate the room by direct light. He was one of the first who required to design products for everyday use which can be bought not only by high classes of society in Denm ark but by everyone. Therefore while Klint was producing his furniture in few pieces from each design, Henningson started to manufacture his products massively. As Lauritsen (2004, p. 128) indicates the dark winter in Denmark forced people to use artificial lightning. Because of long dark evenings and affordable prices, it is supposed that PH lamps became very popular among Danes. In addition due to the well-developed concept and modern design, Henningsons lightings became a cult design object which is well-known in Denmark as well as abroad. 2.3 Arne Jacobson the most iconic Danish designer However the designer who brought most fame to the Danish design in general and whose works continue to be produced and sold successfully all over the world was still not mentioned. His name is Arne Jacobsen and as Fiells (2002, p. 296) assert, he is known for being the most famous designer and architecture creating in the middle of the twentieth century in Denmark. In area of architecture according to Byars (1994, p. 277) Jacobsen was inspired by European architects such as Le Corbusier or Ludwig Mies van der Rohe. Due to this influence, in late 1920s he was the first who introduced Functionalism to Denmark by his project House of the future. Nevertheless this was only the beginning of his all achievements. Between the years 1958-1960 Jacobsen was in charge of a construction of SAS Royal Hotel in Copenhagen. But Jacobsen was not responsible for the building only as a architect but also as a designer of interior including furnishing from chairs to door handles. Comparing design of the building with the furniture and other objects which were created mainly for the guest rooms and lobby, Jacobsen succeeded more as a designer then an architect. The building of the hotel (obrazek) is identified by straight lines and cannot be overlooked mainly because of its heigh. Even Jacobsen himself admitted (Republic of Fritz Hansen, 2009) that many people who saw the building did not like its architecture. The furniture with its most famous Swan and Egg (figure 03) chair originally compete to the exterior by rounded lines. Regarding the design of mentioned Egg chair, few literature exploring design of products (Phaidon Design Classics 334-666, 2006, pp. 493,513; Byars, 1994, p. 277) claim that the firs t concept of this chair was resembling to the creation of Norwegian designer Henry Klein. Warning which was sent to Jacobsen need to be taken positively because he was forced to improve the Egg chair with futuristic rounded shapes of shell which made the design timeless. In addition Jacobsen designed also the Swan chair which creates the remaining part of the couple. As Fiells (2002, p. 302) emphasize, these two design objects were not significant only in the  hotel lobby and rooms but later on for furniture design generally. However the Swan not even the Egg chairs are still not the most famous. Before Arne Jacobsen started to work on project for SAS he designed the Ant (figure 04) and the Series 7 (figure 05) chairs. The Ant chair which was designed firstly in the year 1952 created big design attention when was introduced to public, as Heaths and Jensen (2000, p. 160) clarify. Moreover in 1955 Jacobsen presented developed version of the Ant chair the Series 7 chair, known also as a chair no. 3107 which Fiells (2002, p. 30) describe as one of the best-selling chairs of all-time, but also one of  the most iconic products of Danish design. With the first fabrication of the Ant chair is engaged a  story when Arne Jacobsen came to the front manufacturer Frintz Hansen with a  plea for a  production of his design. Unfortunately Hansen refused his request because of the high expenses for output. However he would offer him a cooperation but only if Jacobsen found a purchaser for his order. As Bo Rasmus sen (konggullerod, 2006), a factory manager of Fritz Hansen tells, Jacobsen found a costumer with demand after 300 chairs and the production could start. This anecdote clearly shows that behind the success of Jacobsens chairs is not only modern design but also a luck. Another statement pointed by Heaths and Jensen (2000, p. 113) which can clarify the success of the Ant and the Series 7 chair is its lightness and storage ability. This made the product easy to export and helped to spread this furniture out of Denmark and become known internationally. 2.4 Verner Panton designer of one-piece chair The last dominant designer who will be introduced in the next paragraphs, took completely different approach to the design of furniture than all mentioned artists above. Verner Panton, as Dickson (2006, p. 265) indicate, tried to use different materials than wood or leather, for example plastic. He was also avoiding natural colours and rather preferred colours such as red, yellow, purple or blue. As Byars (1994, p. 424) describe, before Panton started to work on many of his psychedelic furniture he was a part of Arne Jacobsens studio where he got a chance to be present in development of many well-known objects such as mentioned Ant chair. As Dickson (2006, p. 267) asserts, although Panton studied in Denmark and was surrounded by its design his gamesome fantasy and admiration for future were reflected in his work so dramatically that no company in Denmark was able to manufacture his projects. Therefore he decided to leave to Switzerland and to cooperate with Vitra company which had necessary technology to produce his most famous Panton Chair (figure 06). This iconic design object was long time in process before it could come to the production in 1967. While this chair was interesting for not having back abutment and for its utilization of a plastic with which there was not much experience, this design was created only from one piece, as Dickson (2006, p. 267) emphasized. These reasons and facts made Panton design world famous and contributed to the larger admiration of Danish product design. 3. HISTORY OF DANISH GRAPHIC DESIGN TILL 1960 In relation to all mentioned famous design products from Denmark, the Danish graphic design history also need to be mentioned to compare achievements of these two areas. 3.1 Thorvald Bindesbà ¸ll first Danish graphic designer According to Ejlers (1997, pp. 58-59) the first artist who can be signed as a graphic designer was an  architect and product designer Thorvald Bindesbà ¸ll. Number of his works in area of graphic design is not extensive however for the Danish graphic design history there is one work which need to be mentioned. Architect Bindesbà ¸ll designed a logo and a label for Danish famous beer Carlsberg (figure 07) in 1904. Folkmann (2007) emphasizes that until then most of the graphic works produced in Denmark adapted typefaces mainly from Germany, except for Bindesbà ¸ll. Although he did not produced much works in area of graphic art he is reputable for the new approach to a design of typefaces. Instead of only accepting offered design from abroad, Bindesbà ¸ll created new type only for Carlsberg which the company with small changes has been using up to this day. This logo and its designer showed new direction to the Danish graphic design. Nevertheless in the course of several years the solution for Carlsbergs logo can be understood similar to typeface of Coca Cola. Although the typeface of Carlsberg does not appear handwritten as Coca Cola, there still can be found certain resemblance which does not make the logo outstanding for its design in the period when most of the letter design where inspired by a handwriting. Generally people are buying beer for its taste not for the logo itself and this is also a case of Carlsberg. Ejlers (1997, p. 61) himself assumes that graphic works of Bindesbà ¸ll usually did not follow any typographic rules because he treated letters as pictures. On the other hand he was the only artist among the famous graphic designers of the first half of twentieth century who achieved to created logo which has been in use both nationally and internationally for more than 100 years. 3.2 Architects in graphic design As was mentioned above, the logo was made by artist whose original profession was an architect. In the article by Ejlers (1997, p. 58), the author discusses a subject about graphic works done mainly in the first half of the twentieth century such as street signs, telephone directories, book covers or posters which where mostly created by architects. This reality could be caused by a fact that in Denmark during the first 50 years of twentieth century were no graphic design schools. As was already written, most of the typefaces where applied from German design therefore there was no need to employ graphic artists. When Carlsberg wished to have an original logo the company asked Thorvald Bindesbà ¸ll however not as an architect but as a graphic designer. Another well known architect and designer Knud V. Engelhart who was creating after Bindesbà ¸ll were influenced by his few works that he produced in the area of graphic design. Ejlers (1997, p. 62) explains that Engelhardts first work s were affected by Bindesbà ¸lls ornamental lettering. While later on he was able to develop his own style which can be seen for example on the typeface design of street signs done for north part of Copenhagen. His successor Gunnar Billmann Petersen, who cooperated with Ib Andersen who as well studied at School of Architecture, was also influenced at the beginning by works of his teacher. All these mentioned artists were sharing their experience and were influencing their successors however they created imaginary closed line of graphic designers which could not be often entered by others. This was true till year 1951 as Dickson (2006, p. 485) describes when Billmann Petersen became a professor of the first Department for Industrial design in history of Denmark at Copenhagens Royal Academy of Fine Arts. Students studying under this department were taught to design posters or typefaces as well as products such as lights or cars. More specialization was achieved in 1959 when the department was divided into the Industrial design programme and the first Graphic design programme leaded by already mentioned Billmann Petersen. Opening of this department gave new possibilities to students and to Danish graphic design in general. 3.3 Comparison with Europe However from comparing a foundation of the first Danish Department of Graphic design with for example German Bauhaus explicitly results how late this department was opened. Arntson (2007, p.  32) indicates that the Bauhaus was founded already in 1919 which shows a difference of 40 years. While the Bauhaus was already influencing not only graphic design but also other areas of art in Europe, Denmark was locked in a line of graphic architects creating one by one. On the other hand to point that in Denmark at the beginning of twentieth century was also another name than Bindesbà ¸ll or Petersen, an artist Valdemar Andersen must be mentioned. As Dickson (2006, p. 497) described, this painter worked also as an illustrator, interior designer or creator of packagings. His art was influenced and inspired mostly by French Art Nouveau which is visible from one of his commercial poster done for the newspapers The Politiken (figure 08) in 1908. His works were ornamental and simply ingenious. The use of colours and decoration elements in Andersens posters makes from him truly artist with feelings for composition. Nevertheless beside the graphic art growing in Europe in the first half of the twentieth century, Danish graphic design was not so courageous. From the works of Danish typeface designers can be remarked that they did not experiment much with the typography such as artist of the Bauhaus or Dadaism. Therefore they were not so remarkable and memorable as for example Guillaume Apollinaire or generally Swiss design. Moreover, if the Danish graphic design history will be compared to the history of Danish furniture design some differences showing backwardness of this art discipline could implicate. When graphic design started to be taught at Royal Academy in Copenhagen in 1959 the furniture design department was already training its students for 35 years. In addition while first students began to form the future of graphic design, Denmark could already be proud of design objects such as PH lamps or Jacobsens Ant chair. Till the year 1959 Denmark was still missing graphic design pieces which could be proudly sent to the international environment. 4. DANISH GRAPHIC DESIGN AFTER 1959 So far the paragraphs above were examining the events from the first half of the twentieth century. To be more precise till the year 1960, except for the Pantone chair which was produced in 1967. During the mentioned period the Danish art of graphic design did not succeed internationally as the  furniture products. Most of the iconic furniture design where created around 1950 while graphic design works were still at the beginning of its development. However when the first graphic department was established Danish graphic design expected improvement within this art area by arrival of new talented graphic designers. 4.1 Claus Achton Friss designer of Kingdom of Denmark To see how the graphic design situation has developed or not after the foundation of the first graphic department, the works of current designers will be introduced. The first artist who will be presented is Claus Achton Friss. Even he established his own studio already in 1950, most of his famous works came into being within next 30 years as Ejlers (1997, p. 71) reported. His design is well-known among Danes because most of them were done for the Kingdom of Denmark, for example Queen Margrethes monogram (figure 09) from the year 1976, embassy sign or national arms. As Ejlers also emphasized (1997, pp. 71-72) Friss was exceptional by his solutions of situations when he missed suitable fonts. He designed his own to fit with the client identity therefore Friss left behind a big amount of fonts. To examine the Queens monogram, as it is one of his most significant work, this design will be compared to monogram of the Swedish and British royal family members (figure 10,11). So far as both of the shown Danish and British monograms are for the queens, Frisss design appeals more feminine then another. The elegance in the design of thin lines suits to women generally more than bold letters. However the British solution shows power and hide femininity which can indicate to a  vulnerability that is a character incongruous with governance. Overall Friss was able to design suitable projects for Danish kingdom to represent itself with dignity which classified him among reputable Danish designers. 4.2 Ole Sà ¸ndergaard designer of pictograms and traffic signs If a good artist was determined by number of prizes, Ole Sà ¸ndergaard would be certainly one of them. Since the 1980 when the IG prizes for Danish graphic designers began to be awarded, from the information given by Schenstrà ¸m (2010) Ole Sà ¸ndergaard has already received six prizes given by Danish Design Centre. Additionally as Sà ¸ndergaard (Ole Sà ¸ndergaard, no date) indicates he was awarded by another 7 prices but only one of them from 1992 the European Community Design Prize was international. Considering the time period when he was working on most of his projects the number of awards should be interpreted as a success for Sà ¸ndergaards works. According to Dickson (2006, pp. 489,496), Sà ¸ndergaard is known in his home country as a designer of pictograms and road signs which he was creating during the last 10 years of twentieth century. Pictograms and all signs generally need to be simple and understandable therefore most of the Sà ¸ndergaards works are mainly simplified forms of symbols which were in the use before 1990. However comparing Ole Sà ¸ndergaards logo design to another graphic designer who was living and creating in the same time but in the different country shows lack of creativity in his works. Jan Solpera is a Czech graphic artist who also studied at university during 1960s as DvoÃ…â„ ¢Ãƒ ¡k (2010) affirms. Solpera was designing logos as Sà ¸ndergaard but on the contrary he participated in projects where he literally played and experimented with typography which is visible from his posters (figure 12). Sà ¸ndergaard on the other hand created technically clean design however with standard quality ( figure 13) where the creativity which would move his design to another level is missing. 4.3 Per Mollerup designer of Copenhagens airport signs Dickson (2006, p.493) suggests that Per Mollerup is also an important part of Danish graphic design since him with his studio was awarded for the Copenhagens airport signage (figure 14). With projects such as information and navigation systems the emphasis is placed on the user and his easier understanding of symbols rather than on a graphic aspect which is also important however it goes to the second place. While Per Mollerup was designing the airport sign he decided to stay with the proven combination of dark background and light lettering as many other airports (figure 15), in his case black and yellow. Therefore he was able to create simple navigation for travellers passing through Copenhagen airport which has been in use already for 20 years, as Dickson (2006, p.493) indicates. 4.4 Bo Linnemann and Kontrapunkt Another contemporary designer which can compete with Ole Sà ¸ndergaard by numbers of received awards is Bo Linnemann. Except approximately 12 prizes from Danish Design Centre, Linnemann received also several international as different sources (Danish Faces, 2007; Schenstrà ¸m, 2010) show. In comparison with Sà ¸ndergaard, Bo Linnemann together with two other partners founded about 25 years ago the Kontrapunkt firm. It is a design and brand company which operates not only in Denmark but also in Japan, as the agency (Kontrapunkt, 2010) reports. Graphic works of Kontrapunkt are distinguished mainly by light colours and simplicity of design solutions which make them appeal purely, modern and minimalistic. The best examples which would represent style of the studio are projects of visual identities for Danish chemists (figure 16) or Japanese Tasaki which produced pearl jewellery (figure 17). It is probably because of Danish liking for simplicity that Kontrapunkt is in charge of design for public places such as Billund airport, Movia transfer, Danish Railways or Copenhagens tourist centre where the Danish graphic design is mediated to tourist and foreigners. 4.5 Graphic and furniture design at the end of twentieth century These mentioned designers has been working in graphic area after the first graphic design department at Royal Academy was established. Even they have created larger amount of works than graphic designers from the line of architects, compared to success of furniture designers this art continuously missing the iconic design as appeared in Danish product design in form of Ant chair or PH lamps. Graphic design works are considerably less imaginative, challenging and playful than the furniture design objects. Although all the design is technically well-done the idea for the design solution is in general standard. Awarded graphic designers such as Kontrapunkt, Ole Sà ¸ndergaard or Per Mollerup, as Schenstrà ¸m (2010) reported, were given repetitively the prizes for commercial projects which were limited in area of creativity. These designers were not awarded for creative works which would allowed them express themselves entirely. But for more serious works such as airport or traffic sign s that need to follow given rules. In general from all presented graphic works and designers can be seen that Danes understand graphic design more as a means for a commercial communication rather then an art tool. 5. FUTURE OF DANISH DESIGN Even nowadays, time is passing faster then ever, the Art cannot become iconic over a night. Designers who were designing their works within past 10 years still cannot be fairly appreciated because society needs to evaluate these arts with some time distance. This statement is supported by the fact that Danish Design prizes for graphic design were not awarded right after the establishment of the first graphic department. It toke 20 years when the first graphic design project was given the IG prize as is known (Danish Design Centre, 2008, p.35) because Denmark had a need of time for graphic designers to gain experience. Artist who were presented in the paragraphs before are according to different mentioned sources so far the best of Danish graphic design. However they cannot be equaled to names such as Arne Jacobsen or Verner Panton as their works are not so iconic as works of Danish furniture designers. 5.1 Young Danish graphic designers and studios With arrival of new technologies, forms of graphic design are changing all around the world. From the end of nineteenth century till almost the end of twentieth one of the most powerful medium was a poster, in general prints. Despite of its previous popularity this medium has being supplied by more digital art such as websites or digital panel and it is presumptive that posters will slowly disappeared (BlaÃ…Â ¾ek et al., 2010). Therefore future generation of graphic designers are adapting themselves to the new call in graphic industry. There are many artists who were influenced by the digitalization and now mainly work with popular computer graphic such as Aastrud Sigrid and Bay Thomas (Worldwide graphic design, Scandinavia, 2009, p. 222) as can be seen from examples of their works for Ford (figure 18). Or Stefan Mylleager (Worldwide graphic design, Scandinavia, 2009, p. 223) who creates mainly motion graphic videos (figure 19) and CD covers. Not only these artists but many other s will probably develop this art direction which is due to the internet and other modern technologies, which spread information quickly and everywhere, a matter not only of Denmark but global. However there is another group of artists which creates in different direction. It could be probably caused by the big digital press that some young designers rather based their creations on handwork, usually in illustrations which are afterwards retouched in graphic programs than only on computers. Some of them can be seen in the publication presenting Scandinavian graphic designers (Worldwide graphic design, Scandinavia, 2009, pp.  222-223) such as Ehlers Sune who illustrates his Duudle creatures (figure 20), brothers Rune and Esben Fisker who create animation videos and illustrations (figure 21) or Thoberk Jakob who worked in Spild Af Tid design studio focusing on different kind of media done by animation or illustration. Another young artist Karina Petersen who is mentioned by Devroye (2010) experiments with typography by different forms of expression (figure 22). All these mentioned designers present new view to graphic design either by digital art or illustrations. Nevertheless most of them express themselves more openly and playfully than the generation before which is the approach that Danish graphic design was missing. Moreover nowadays modern era with its technologies helps present artists easier and faster beyond the borders of Denmark. On the other hand they are facing to large competition in which they have to success. 5.2 Future of Danish furniture design The biggest success for Danish design was in 1950s and 1960s but since this time period Danish furniture products have not achieved such popularity. It seams that designers are aware of this situation because as Danish Design Centre (Danish Design Centre, 2009) remarked, within past several years relatively young companies began to introduce new quality products to the market. Hay is one of the firm which realises that Denmark cannot live only from the fame of previous generation but need to continue and develop. As Danish Design Centre (Danish Design Centre, 2008) also indicates, by cooperation with young artists Hay was able to create successful company with creative furniture solutions only within seven years. Their products such as the Blow chair (figure 23) or the Princess chair respects the elements of Danish Modernism as simplicity, importance of good usage of materials, quality technics of production and focus on user. Furthermore they do not only copy existing products howev er they bring something new and original into the Danish design of furniture. 6. CONCLUSION From the beginning of the twentieth century when the line of architects was working on graphic design projects and not even after the first establishment of the graphic design department. Danes have not been able to create graphic art which would become so iconic as furniture products from 1950s and 1960s. Most of the works were technically well made but missed ideas which would create from them better art then only standard. Comparing Danish graphic design works with others from Europe a lack of creativity can be found in their design solutions. This can be caused by working mostly on commercial projects where the creativity is usually limited by instructions and wishes of client. However this cannot be asserted about the furniture design consisted of iconic Ant, Egg or Panton chairs and PH lamps which are admired and well-sold even after 60 years from the day they were created. The Danish modernism, as the furniture design in Denmark is collectively called, is known for the emphasis on function, the use of simple lines, the focus on good choice of materials and quality production. These principles were consider by Arne Jacobsen in 1950s as well as by designers working on chairs for Hay more than 50 years later. And this is the matter which creates Danish furniture design so powerful. 7. REFERENCES Arntson, A.E. (2007) Graphic Design Basics. 5th edn. United States of America: Clark Baxter. Bhaskaran, L. (2005) Designs of the Times. Translated by Jana Novotnà ¡. Reprint, Prague: Nakladatelstvà ­ Slovart s.r.o., 2007. BlaÃ…Â ¾ek, F., Bosà ¡k, P., Jans, R., Novà ¡k, R.V. and Solpera, J. (2010) Role and future of the poster. [Discussion]. 18 November. Byars, M. (ed.) (1994) The design encyclopedia. New York: John Wiley Sins, Inc. Danish Design Centre (2009) Danish Design Past and Present | DDC Dansk Design Centre. Available at: http://en.ddc.dk/article/danish-design-past-and-present (Accessed: 20 October 2010). Danish Design Centre (2008) Hay: Growth via sustainable and innovative design | DDC Dansk Design Centre. Available at: http://en.ddc.dk/case/hay-growth-sustainable-and-innovative-design (Accessed: 20 October 2010). Danish Design Centre (2008) The Danish Des

Todays Drug Laws Essay -- Papers Society Laws Drugs Narcotics Essays

Today's Drug Laws Today?s drug laws seem to do more harm than good. The so-called drug war hasn?t seemed to be as effective as it was intended to be. Its original intent lies in its name, to attack the drug problem in America. Nixon started the war on drugs in the late sixties to stop drug abuse at the source, the distributors. Another intention for the war on drugs was to show individuals taking part in this illegal activity that their participation would cause serious consequences. The government has taken drastic measures to keep drugs out of our nations streets, from attacking the frontline in The Columbian drug fields, to making numerous drug busts in urban cities across the United States. However, these harsh but well- intentioned laws have been accused of infringing on America?s freedom. Some believe the people have a natural right to use drugs if they perfectly well chose to do so. Although the war on drugs has been going on for many years, drugs still remain a big problem in the lives of many Americans. Drug offenders as well as abusers are being punished with extreme penalties. Innocent people are suffering because of this. And finally, all the tax dollars going into this war seems to be in vain because its not progressing like it should. The American Government saw that drugs were repressing its citizens, which made them spring into action. The Government wanted to do whatever it took to rid its streets from drugs and crime, which in time the War on Drugs was created. Nixon launched programs with efforts to crackdown on illegal drug use. He created the Office of Drug Abuse and Law Enforcement (ODALE) and the Office of National Narcotics Intelligence (ONNI). In 1973, he also initiated Reorganization... ...tes these laws. Whether or not they are on the right track in solving the problem makes their intentions invalid. Harsh laws and the treat of jail will not stop drug abuse. We learned this from History. When the Prohibition law was passed in 1920, innocent people suffered, organized crime grew, government officials (police, court, politicians, ect.) became corrupt, disrespect for the law grew, and the consumption of prohibited substance increased. If America has learned anything from it?s past, prohibiting people in a democratic society causes more and more problems. Legalization also brings on a bunch of other problems, which makes this issue more complicated. The answers aren?t going to fall into place. It is going to take arguments from both sides to come to an agreeable decision, and then and only then is this war on drugs will come to an inevitable end.

Deception in the Investigative, Interrogative, and Testimonial Processes

Deception in the Investigative, Interrogative, and Testimonial Processes Lisa Moore University of Phoenix Ethics in Justice and Security CJA 530 March 23, 2010 Roger Long J. D. Deception in the Investigative, Interrogative, and Testimonial Processes The term deception means the deliberate act of misleading an individual some may refer to deception as â€Å"little white lies. † Deception has long been used in the criminal justice area by officers in the detecting process of criminal cases, and is one of the most commonly used tools in the investigative process. Investigators use deception in the detecting process. This involves misleading criminals during the investigative and interrogative stages, to gather enough information about the crime that only the suspect would know to arrest the suspect, and then present the case to the court. There are three stages of deception, the investigation, then interrogation, and finally the testimonial. â€Å"Hard and fast rules limiting police conduct may challenge common sense, while the absence of such rules may invite arbitrary and abusive conduct. This paper discusses one of the most troubling and difficult questions pertaining to the ideal of legality: To what extent, if at all, is it proper for law enforcement officials to employ trickery and deceit as part of their law enforcement practices† (White, 1979)? â€Å"Whatever the answer to that question if, indeed, an answer be formulated it has to be measured against a hard reality of the criminal justice system. That reality is: Deception is considered by police–and courts as well–to be as natural to detecting as pouncing is to a cat† (Skolnick, 1975). Deception is generally allowed during the investigative stage of detection, as it is to the courts but is less tolerated during interrogation and rarely suitable or accepted during court proceedings. â€Å"Here, police are permitted by the courts to engage in trickery and deception and are trained to do so by the police organization. The line between acceptable and unacceptable deception is the line between so-called entrapment and acceptable police conduct† (Chevigny, 1969). â€Å"Within an adversary system of criminal justice, governed by due process rules for obtaining evidence, officers will deceive suspect to get the truth. The contradiction may be surprising, but it may be inevitable in an adversary system of justice where police perceive procedural due process norms and legal requirements as inconsistent obstacles to truth for the commission of crime† (Skolnick, 1982). Deceptive interrogation strategies present intriguing ethical questions. While brutal or otherwise physically coercive means are no longer commonly used by police officers to obtain confessions, officers regularly use deception as an interrogation strategy. During interrogations officers will use psychological persuasion and manipulation. Officers are authorized to trick and lie to get a so called voluntary confession. The use of deception in interrogation is a simple â€Å"routine in almost every law enforcement agency and it remains routine because it is effective: When the suspect is talking with police, deception frequently breaks the suspect down and elicits confession† (Obenberger, 1998). â€Å"Although these tactics have been criticized by the United States Supreme Court (Miranda v. Arizona) nevertheless the Supreme Court has never squarely banned the practice, and it sometimes justifies deceptive practices under the name strategic deception. Miranda forbids coercion in questioning a suspect it does not bar† (Obenberger, 1998) mere strategic deception by taking advantage of a suspect's misplaced trust in one he supposes to be a fellow inmate. To better understand how deception works here is an example: â€Å"A burglary is being investigated at a local store. During an interview of the suspect, he is told that there is a video recording of him inside of the store taking a car stereo and shoving it into his pants. The suspect tells the investigator that not only did he make it out of the store with the stereo he also tells him that he entered the store with the intent to take it in the first place; making the crime felony. What the investigator did not tell the suspect was that the video only showed him concealing the stereo and nothing else† (Obenberger, 2008). â€Å"Testimonials during court hearings are performed under oath, hence the statements of an individual being examined are assumed to be true and no other statement should be falsified or forged. When the officer does not pronounce the truth in court, he or she is still capable of providing a reason for his deception, based on a substitute arrangement, such as when he or she is operating as a witness to the prosecution and is not considered as the defendant in a court case. However, it is also required that the officer is conscious of the rules of the court system that he or she has sworn to tell the truth during examination† (Chevigny , 1969). â€Å"It is difficult to prove a causal relationship between permissible investigative and interrogatory deception and testimonial deception. Police freely admit to deceiving suspects and defendants. They do not admit to perjury, much less to the rationalization of perjury. There is evidence, however of the acceptability of perjury as a means to the end of conviction. The evidence is limited and fragmentary and is certainly not dispositive† (Skolnick, 1982). â€Å"Deception is nothing more than planting a seed and letting the suspect fill in the blanks. The most important part of using this technique is that in using it, you do not elicit a confession from an innocent person. One of the greatest examples of deception is Rhode Island v. Innis, 446 U. S. 291(1980). In January of 1975, a taxi driver was shot and killed by a shotgun blast at the base of his head. One week later, another taxi driver reported that a man wielding a shotgun had robbed him. Police prepared a photo lineup of the possible suspect and the second taxi driver identified him. A patrol officer located the suspect later in the morning. Minutes later, a Sergeant arrived at the scene of the arrest and read the suspect his rights per Miranda. The suspect invoked his rights by saying I want to speak with a lawyer† (Obenberger, 2008). â€Å"The sergeant detailed three officers to transport the suspect to the central station. After leaving the scene, the officers started talking amongst themselves about being worried that the missing shotgun was in the vicinity of a school for handicapped children and that they should continue to search for the weapon. It was also said by one of the officers, â€Å"It would be too bad if a little girl would pick up the gun and maybe kill herself. The suspect told the officers that they should turn the car around and he would show them where the gun was. When they arrived back at the scene, the sergeant again advised the suspect of his rights per Miranda. The suspect showed the officers where the shotgun was† (Mike, 2008). â€Å"There was a hearing in order to suppress the shotgun. The suspect’s attorney said that because the officers were talking in the presence of the suspect, and that he was in custody, the officer’s conversation amounted to an interrogation. The court found that it was not an interrogation and the shotgun was allowed. The suspect was subsequently convicted of murder and the case was appealed. The Supreme Court found that the suspect was not interrogated within the meaning of Miranda. It was undisputed that the first prong of the definition of interrogation was not satisfied, for the conversation between the patrolmen included no express questioning of the suspect. Rather, the conversation was, at least in form, nothing more than a dialogue between the officers to which no response from the suspect was invited. This matter could have been argued either way. Some would say that the conversation between the officers was intended to reach into the conscience of the suspect in order to get him to tell where the weapon was† (Obenberger, 2008). â€Å"Deception is incredibly effective on the criminal because this form of interview can actually reach into the conscience of a suspect because they still have a sense of what is right and wrong. This method also allows the investigator to uncover the motivation behind the crime. The courts, while not necessarily supporting deception, do not inhibit it either. It is a very valuable tool† (Mike, 2008). â€Å"The negative side of deception is that when pitted against a suspect who isn’t responding, the investigator might be inclined to go further and further with the method until such a point when getting the confession or evidence becomes more important than how it is obtained. Again, that’s where the line between legality and illegality exists. The most important aspect of using deception in an interview or interrogation is to be honest on the witness stand. There is nothing wrong with deception during an interview of a suspect but when it comes to testifying in court, tell the truth† (Mike, 2008). References Chevigny, Paul (1969) â€Å"Police Power† New York: Pantheon p. 139 Retrieved March 21, 2010 Mike (2008)  Ã¢â‚¬Å"Simply A Night Owl†Ã‚  Retrieved March 21, 2010 from http://stillanightowl. wordpress. com Obenberger, J. D. (1998) â€Å"Police Deception† The Law and the Skin Trade in the Windy City Retrieved March 21, 2010 from http://www. madmuse. com Obenberger, J. D. (2008) Deception in the Investigation of Crime- Deception Retrieved March 21, 201 Skolnick, Jerome (1975) â€Å"Justice without Trial† 2nd ed. New York: Wiley & Sons, p. 177 Retrieved March 21, 2010 Skolnick, J. (1982,  Summer/Fall) â€Å"Deception by Police† Criminal Justice Ethics, Vol. 1 (No. 2) Retrieved March 21, 2010 from http://www. lib. jjay. cuny. edu White, Welsh S. (1979) â€Å"Police Trickery in Inducing Confessions,† U. Pa. L. Rev. 127 (1979): 581-629; Retrieved March 21, 2010

Employee Relations Essay

In various business organizations, we find that, many employees are neglected and are most often demoralized, not motivated in performing their duties in the particular organisation, thus encouraging a poor employee relations, but in the United Kingdom, many businesses are flourishing, since they have set up an enabled system that tends to come up with factors that makes the firm to get a frequent and significant recognition of its employees, thus enhancing a good employee relations. The factors that are known to be most influential in the shaping of these employee relations in the United Kingdom are as follows: Communication In this case, we find that, most managers come up with a system to re-examine the performance of their employees. This system normally, include a precise communication system that brings an understanding between the employees and the management team, under which, the employees seem to appreciate the principles on which they are assessed thus, encouraging justice and equal opportunities in the organisation. The firms have an established internal coordination system and structure; this is usually a practical cooperation that helps to build stronger relationships among the employees. Thus there is the recognition of each employee’s contributions. In a firm every department has employees with different skills that are required at different roles. Therefore, the managers bring all these skills together, so that the firms objectives are achieved, and therefore, each employee is meant to understand what these objectives are, and how the different skills and functions within the firm are to contribute in achieving the goals of having a better employee relations, therefore they should know why they need to support each others efforts. Motivation The success of an organisation basically, depends on the employees using their full skills and knowledge in their production, therefore, these employees require motivation, and this motivation can be done in different ways and by different things. The employee Motivation in the United Kingdom normally involves, the compensation system which is the activity of giving the employees what they really want most from work, it therefore makes the manager, get his expectations from the employees, this expectations may include; production of quality goods and services. Motivation will enable the employees to have their goals in the organisation achieved; they will have a positive perspective on their position in the organisation. Motivation also creates the influence to change and build employees self-esteem and capacity to work. The managers have the responsibility of motivating workers, when the organizational structure is experiencing changes, and in this case, we find that the manager comes up with a plan that is used to define the environmental factors that brings an atmosphere of integrity, honesty, and confidence to the employees. Under this, the managers’ plan considers the factors that motivate the employees; this involves the determination of the important factors to the employee in his working life, and how they relate to his productivity. He also finds out what motivates the employees in their work, this is a situation where, we find most employees wanting a privileged compensation, an enhanced working environment, and flexible benefits from the amount of work that they do. This is always done by, asking them during the performance assessment, attitude inspection, and is also retrieved from informal discussion on what the employees want most from their jobs. On the other hand, the managers also spot the de-motivating factors of the organisation to the employees; these factors may be physical factors which include buildings or equipment or psychological factors such as monotony, injustice, barriers to promotion and lack of appreciation which normally affects the employee relations in an organisation. Since most workers in the United Kingdom claim to be working for money, and that their extreme benefit is encouragement; under this, money is always regarded to be a low motivator, and that it is only a short time motivator, after a rise is given to the employees salary, so the managers are always aware that benefits given after a particular performance rarely motivate their employees to use their potential effectively, most of the employees say that, the benefits are only used to motivate the new employees in the organisation but not the existing ones. Change Management Poor employee relations is normally said to be a leading factor to a change in an organizations’ performance; therefore most managers have been seen adopting a policy for managing changes within their organizations. In this case, we find that the introduction of this change is always meant to be motivating to the employees, since it is always used as an entry to the firms’ better achievement of its goals. To achieve a positive change in an organisation in the UK, the managers do not tell or instruct the employees, this does not help, but it only creates ignorance to the doubts and expectations of the employees, therefore the management team in an organization carry out discussions, through which the sharing of a particular problem helps in the creation of a better actions in dealing with the issues that are predicted to affect the productivity of the firm, due to the shared ideas and decision making processes derived from the open discussions, the employees are able to realize a change in the organizational performance. Changes in any organisation in the United Kingdom, normally involve learning, where the managers are able to know the learning capabilities of every employee in the organisation. Under this, one finds that his employees are categorized as follows; activists the manager may find that some of his employees like involving themselves in new ideas, problems, or opportunities meaning that, they do not like being impartial, Theorists, this is the category of learners, who are always comfortable with ideas they do not prefer involving themselves deeply without a reason. The other category is that of reflectors; they like taking time to think through things, thus they do not like being forced to move from one thing to another rashly and lastly the pragmatists they normally prefer to be linked between issues and their job description. Therefore, the manager is always in a position to deal with his employees who have different learning preferences and approaches, who may also respond differently to diverse situations affecting the organisation. In this learning process the manager is expected to give feedback, that plays a major role in motivating the employees, thus he should not leave the employees guessing the progress of their accomplishments, therefore, the managers always give adequate and accurate information on the development. Employee Recognition This is another factor that the employers put into consideration for the organisation to improve its employee relations, this is basically a communication instrument, which strengthens and compensates the most significant production that the employees have created for the organisation. The recognition structure is always made simple, instant, and effectively supportive to the employees’ relations and the organisation at large. Under this, the management team ensures that a principle for performance is established, involving the rewardable behaviour of the employees thus all of them are entitled to the recognition by the employer. This recognition supplies the employees with specific information about the behaviour they are being rewarded for. The management therefore, states that any employee who performs at a specified level receives a reward. Basically recognition occurs hand in hand with performance of the employees, thus it reinforces the employees’ encouragement and thus improving the workforce relations. Culture This is another factor that is most influential in the employee relations in an organisation, culture basically means, the environment surrounding an employee at work. In the United Kingdom we find that, culture is meant to shape the relationship of an employee and his work in an organisation. Culture represents an employee’s personality that carries principles, attitude, fundamental interests, knowledge, background, and behaviour that creates a person’s behaviour. Culture is particularly inclined by the organization’s management team due to the roles in decision making and strategic direction they impose in the organisation. We find the managers put in mind that culture is learned, thus employees are capable of learning how to perform, employees value rewards that are not associated with behaviours, since they have different needs, shared rewards from co-workers or have their most important needs met in their departments or project teams.

Physiological states Essays

Physiological states Essays Physiological states Essay Physiological states Essay A mental disorder or mental illness is a psychological or behavioural pattern that occurs in an individual and is thought to cause distress or disability that is not expected as part of normal development or culture. From the drama we used I learnt that the recognition and understanding of mental disorders has changed over time and across cultures, I also l learnt that mental disorders do not have a defined cause- any disorder can arise from a combination of environmental, biological, and psychological sources. In particular one of the workshops we took part in helped me identify how social forces can influence individual psychological and physiological states.This was achieved by each pupil being given a folded piece of paper where all were blank except one which had a black spot on it. This taught me some mental illnesses may be caused by social rejection often leading to paranoia or distress. It also taught me, however, that a persons mental disorder can influence their thoughts on people around them and how these people perceive their behavior, whether these thoughts are right or wrong.From the work we did I learnt drama can be expressed in several ways and is an extremely diverse subject- a piece can also be interpreted in a number of ways and that is what makes it drama. Anything can be portrayed through drama, ranging from art to literature. Particularly, I learnt about certain explorative strategies and how they can influence a piece- forum theatre, I thought, was one of the most interesting ideas. I think it allows the character and the audience to become more familiar with the characters traits and understand them on a deeper level. This is also true for hot-seating, whereby simply asking basic questions, a character can be developed from a straightforward person to a complex, intricate character. Marking the moment has also proved helpful, by identifying a significant moment in a piece of drama allows the audience to help the actors improve their scene, but also helps the audience understand it further, on a deeper more multifaceted level.One of the key moments of the workshop was the lesson where we looked at The Scream. From this I learnt a significant amount about not only drama, but drama portrayed though art. From one painting, so many connotations can be drawn and applied to drama. What I noticed first about this painting is the normality of everything else besides the man screaming, it can be seen as a sort of inner scream we all feel sometimes when an agony that we must keep silent becomes unbearable. Unless we are insane, we keep the resulting desire to scream in despair and fear inside- we are torn apart inside while outside everything goes on as normal. This painting captures both the inner scream and the normality around us. From this I learnt that people may be drawn to madness or depression because they have no one to confront, and open up to- their inner scream may drive them insane. I thought this central idea was most forcefully portrayed by Huguettes group.They portrayed their inner scream and confusion through a simple but impressionable concept. The four members of the group, Jake, Lucy, Honor and Huguette, were sitting in a circle. They took it in turns to speak as they went around the circle, they all seemed to talk to each other, but did not communicate as each character was interested in their own problems- and only their problems. The scene was drawn to a stark ending when all four characters shouted ARE YOU LISTENING TO ME?, this stood as a symbol of their inner scream revealing itself.This was my favourite and most memorable part of their piece as it was extremely powerful and summed up everything we had previously studied from The Scream to Cagebirds, drawing links between all the drama texts we had studied, this is what really sticks out in my mind and was one of the most powerful workshops.

Free sample - Suma Systems Business Profile. translation missing

Suma Systems Business Profile. Suma Systems Business ProfileSuma Systems is a media consultancy firm that specializes in providing general corporate, media and public relations advice to a variety of clients in the mining, tourism, agriculture, sports, and railway sectors. For corporate matters, we specialize in working with entrepreneurs, start-ups, promoters and other new ventures where we assist our clients by creative thinking, flexible working and achieving results. We aim at providing a full range of media services on matters ranging from writing press statements, distributing media alerts to coming up with newsletters. The journalists at Suma Systems are from large established firms and have considerable experience in complex corporate, media and public relations matters. We hereby wish to offer our services to you in relation to issues of Media, Communication and Corporate Affairs to be undertaken on behalf of your organization. With your elaborate desire to contribute to the Zambian economy and the community in which you operate, thereby creating job opportunities. Some of our specialties include: Coordinating media monitoring, analyzing the data and recommending approaches to address issues, Preparing media releases and other responses as well as setting up radio, television and other media interviews, including documentaries, Continuously reviewing and building an extensive media database and network, enabling strategic information dissemination, Making all logistics and requisitioning arrangements regarding media, developing proactive responses to media issues Staying abreast of latest developments in the publications environment regarding the various components related to company operations and continuously proposing improved solutions to increase efficiencies, Planning, coordinating and preparing presentation material for use by respective company officials, drafting and editing various communiquà ©s like content publications among others, Identifying relevant/appropriate mediums for advertising/promoting/profile building initiatives, submitting proposals, drafting relevant copy and project-managing the placement, design and production of advertisements, advertorials and other profile items, Identifying and coordinating all logistics for internal and external events, Drafting the necessary proposals, quotations/tenders for publications, coordination of publications, briefing and liaising with relevant service providers, Reviewing overall functionality and image of the company public relations, including proactive improvement of proposals and reviewing all items for accuracy, user-friendliness, and professionalism prior to placement, Coordinating luncheons, networking events, trade shows, concerts, and hosting road shows, which are an important means for companies trading publicly to communicate with the community.