Advantages And Disadvantages Of Web Databases Information Technology Essay

Advantages And Disadvantages Of wind vane Databases Information Technology EssayIn this chapter, the results of initial investigations and analysis carried out in order to determine the requirements that which is needed of the transcription by its future users, is outlined. Firstly, we take a look at the initial background research and its findings in relation to the topic. Secondly, this chapter then goes on to discuss the methodology and cultivation tools chosen to develop the application. Fin in ally, the requirements specification of the system is outlined including the users requirements both functional and non-functional that own been the guide in the development of the system.2.1 Background Research and AnalysisAs part of the initial stages of the project, investigations were carried out into the background of the topic atomic number 18a of web based applications since the application that has been create is in itself a web-based database application as advantageously as into the possible expectations and ineluctably that users would require of much(prenominal) a system. Besides research in various pieces of literature and the internet, informal interviews were also carried out with users of connatural known system, in order to get a better understanding of what users of such a system would come to expect as part of developing a requirements specification.2.1.1 Background Research FindingsWithin the last decade, the rapid evolution of the internet has opened the door for organisations to take advantage of its benefits as a way of life to improve their operating efficiency, lower cost and ultimately give themselves a competitive advantage over their competitors. Web based applications are increasingly existence used to handle tasks make by traditional applications such as data storage and transaction applications. With regard to data storage, ****Being web-based, web applications have significant benefits over their traditional counterpart s but with being web based also come many challenges for developers due mainly to their dynamic nature. This is due to promptly changing technologies, frequent changes of user requirements, and dynamic aspects of the software technologies (Wu Offutt). In development of these applications, developers must ensure that they are very reliable, exhibit very high usability as well as security (Wu Offutt). In comparison to their traditional software counterparts, web applications must be developed to be available at all times they must be maintainable given the rapid evolution of technology and most main(prenominal)ly, as they are based on the internet, they must be exceedingly scalable to facilitate a global market and ready to grow in terms of servers, services, and customers very quickly. (Wu Offutt)Web-based database applications, being web apps themselves, are no exception. The web as a platform for database systems according to Connelly Begg (2005) can deliver innovative solut ions for both inter- and intra- company business operations but also has its disadvantages.Advantages and Disadvantages of Web Databases according to Connelly Begg(2005)AdvantagesDisadvantagesSimplicityThey are easy to develop, as HTML upon which they are based is easy to learn and use.Cross Platform supportBeing web-based, they are not confined to any particular OS platform as they are accessible via web browsers.StandardizationWith HTML being a stock on all browsers, HTML documents can be read from any machine in the world.Scalable DeploymentReliabilityThe internet is menstruumly an unreliable and dumb communication medium. At times servers can be down and a message may be delayed to be sent. Also at pinnacle time when its is significantly slow.SecuritySecurity is of great concern especially when the organisation makes its databases accessible on the web.CostLimited Functionality of HTMLSome highly interactive database applications may not be converted easily to web based app lications, while still providing the same user friendliness.2.1.2. Problem Analysisestablish on observations from the daily operations of the MIS department with regard to problem tracking, the basic operations can be summarized as shown in the rich picture to a lower place*******2.1.3. Interview AnalysisDuring the investigation carried out, informal interviews were carried out with individuals who interact with similar systems to the one proposed. The questions used in these interviews can be found in supplement A. Both individuals who were interviewed use web-based help desk applications that are installed on their respective companys network as an application accessible via web browsers. See figure 1 to a lower place for a screenshot of one these applications.FIGURE 1Unicenter ServicePlus A web based help desk application used by one of the technicians interviewed.While these users describes these********************2.2 Development methodologySelection of the most appropriat e methodology for development is important for the success of the project. This is due to the fact that using an inappropriate methodology can lead to issues such as cost overruns as a result of poor project management, project incompletion or the development of the wrong functionality to incorrect specifications. The methodology selected for the development of the system would be the Systems Development Life Cycle (SDLC). This methodology was selected because it is one of the most stable methodologies with minimum risk. Also, the development approach to be used would be that of the falls Life Cycle model which is ideal for inexperienced developers. (Weaver 2004) It was also selected due to its simplicity.The system was modelled with the use of ER Diagrams as well as Use fount diagrams. Use case diagrams were used as they are one of the best modelling tools that give an idea on how the system will operate in relation to how the users would interact with it. It also gives a clear id ea of who the users of the system would be and the various views.2.3 Development ToolsCrucial to the development of the application, is the selection of the right programing tools. As such, since the application is a web-based database solution, it was necessary to select the software tool that could be best used as the foundation for the web-based database. The database tools considered were MySQL, MS Access and seer Database 10g Express. The table below shows a comparison between these three-In the end, the database tool selected was Oracle Database 10g Express Edition which was chosen because of its ease to use and learn. other plus to this application is its web readiness which makes it easy to host online, a crucial requirement for the application once completed. The downside******2.4 Requirement SpecificationThe system was developed to support 3 levels of users, namelyManagersGeneral drug usersTechniciansEachFunctional RequirementsAccording to Weaver(2004), Functional requ irements are those that define in some detail what the system needs to do. The functional requirements from the users point of view are as followsThe General user or Employee should be able to-Register and Login using Username and war cry Authentication get a problemView Solved ProblemsChange and Update personal informationThe Technical Support Manager should be able to-Login using Username and rallying cry AuthenticationView and reply to ProblemsAssign Problems to TechniciansAdd, Update or Delete System UsersView solve problems and add remarksAdd or Update provider informationView Technician detailsReview Resource HistoryReset User PasswordsView jobs DoneThe Technician should be able to-Register and Login using Username and Password AuthenticationSearch and View Problems AssignedView Jobs doneView Work QueueAdd, Append, Delete Job HistoryRecord Work doneUpdate personal informationChange passwordOther Functional Requirements include-DataThis is the lifeline of the system and is th erefore one of the most important aspects of the system. The data that the system would use are-Resources (allocated Hardware and Software) and their unique information such as its serial number, date of purchase, supplier, license details (for software resources), current location (a room number) and the resource symbol (e.g. Hewlett Packard T540 Imaging Package, or Microsoft Windows XP Professional 2002 Service Pack 1).Problems reported by EmployeesInformation recorded once a job is complete by a technician.ProcessingThis includes the processing of problems reported by Employees, and the allocation of jobs to Technicians based on the problems by the Technical Support Manager.User InterfaceAccording to Weaver (2004), the user interface of a system should be SimpleMade for the UserConsistentNon-Functional RequirementsAccording to Weaver(2004), non-functional requirements describe the instruction execution and constraints that the system should meet. The non-functional requirements areUsability The user interface must be consistent and user friendly while ensuring maximum efficiency while users navigate by means of the application.Availability the system must be available at all times during working hours.Access Users would be restricted according to their user type or level. Users will require a Username and Password to access the system.Capacity the system must be capable of holding large volumes of data, specifically complaints as well as solutions.

History Of Penguin Paperback Books Arts Essay

History Of Penguin Paperback Books Arts EssayPenguin soft- teetotum mass book of accounts fuddle be convey a constantly evolving sever of British culture and design history since 1935 when the company was founded by Allen Lane. Lane came up with the concept of mass-producing inexpensive paperback editions of hardback title of respects. McLean (1952) mentions that the Penguin book venture is a standing re thinkerer to manufacturers that the best is non too good for mass consumption. For the design of the books, Lane precious to carry a consistent template for every(prenominal) the book pouts to follow. He instructed his office Junior, Edward Young to devise a simple plane tripartite persona of the apprehends exploitation food colourings to indicate the genre of apiece book orange for fiction, green for crime, dark blue for biography, cerise for travel and adventure and red for plays (Baines, 2005).The design start out contemporary typefaces at that time. Bodoni Ultr a Bold was used for the publishers fix Penguin Books and twain weights of the relatively new (1927-8) Gill Sans Serif for the contents of the book cover and spine information (Baines 2005).First editions of Penguin paperback books (Adapted from Baines, 2005. p18-19)The fresh and modern bearing of the Penguin book covers was a major contri thator to the commercial success. Other British publishers presently realised that design was an important feature for book covers and the demand for highly skilled springs increased (Doubleday, 2006b). Penguins design standards established uniformity and improved the boilers suit aesthetic of books in Britain (Doubleday, 2006b). Despite the unity of their appearance on that point was twelve main front cover variations with round that contained exemplifications.Lanes simple template for the Penguin books is derived to a degree from the mollymawk book covers brought close in 1932. These designs were devised by Hans Mardersteig (McLeery, 2006). Lane was often quoted that he was trying to emulate the Albatross collection series which set the standard for primeval paperback book design (Doubleday, 2006b). Mardersteig designed the covers with the efficient system of colour-coded subject matter. Symmetry and centred sans-serif type placements were a feature. The size chosen for these books were 181 x 112 mm which adhered to the luxurious section of 1.61. Penguin books initially followed this size format which has become one of the two standard sizes within the paperback book industry, known as A and B format (Baines, 2005). The A format gives the reader a good line length for reading and a suitable compactness of the book (McLeery, 2006).Albatross book cover design series 1932 (Adapted from Genetic Joyce Studies, 2006)The bird inspired name and colophon, bright, plain coloured covers and focus on contemporary titles provided the influence for Lane a captivating standardised cover. Young, who went on to become the pro duction manager at Penguin Books statedit was time to get rid of the idea that the solitary(prenominal) people who wanted cheap editions belonged to a lower order of intelligence and that therefore cheap editions must(prenominal) have gaudy and sensational covers. (Joicey, 1993, p4)The classic design and layout of the Penguin books were to undergo a subtle, refined advancement under the direction of Jan Tschichold. Tschichold arrived at penguin in 1946 and asserted a more disciplined approach to the design (British Council Design Museum, 2006). The template for all Penguin books to follow consisted of designated positions for the title and authors name with a line between the two. The most notable change was the replacement of Gill Sans for Bodoni Ultra Bold for the PENGUIN BOOKS publisher title. He also drew the penguin symbol in eight variations. The oval or quartic that contains the publishers name is subtly more elegant and attractive than Youngs Do a comparison in illustrato r. Some books included an congressman on the central horizontal band as shown on the Pelican book Sailing.Tschicholds Pelican Books follows the standardised layout with the inclusion of illustration and the blue colour that distinguishes Pelican.As Tschichold was already distinguished in the field of typography, great cargon was taken to optically letter-space all text on the covers and at bottom the book.Tschicholds experimental layout, left(a), and the revised design and layout, right (Adapted from Baines, 2005. p56 58)Tschichold studied a theory which claims to provide the most beautiful and harmonious propertys. It is was graduation exercise documented in a book by Fra Luca Proportione(1509) and is said to have been the method laid down by Phidias, the architect of the Parthenon. It states clear rules of of the division of space. It is known as the comfortable Section.The gold Section is described as an aesthetic phenomenon. It is a division of space omnipresent throughou t the universe. This division is an irrational ratio of 0.6181. It represents every line, every surface, every volume whose elements ar arranged in conformity with these proportions reflect the idea of Beauty (Br, 19xx). It has even been linked to the scale and proportion of human anatomy. It is all about expressing harmony. lucky Section DiagramThe Golden section had great influence on Tschichold in his search for perfection in design and a greater awareness of proportion. He controlled the placement and size of elements with this ratio. The size of Penguin books were close but not precisely equal to the Golden Rectangle. It can be noted by (Br, 19xx) that the Golden dimension can be substituted by another ratio e.g. 35, 58, 81, 1321 etc. This is because such small differences are not picked up by the inwardness and can still be perceived as the Golden Ratio.The Golden section reassures that aesthetics is not subjective. That it is not an single(a) feeling and more a general ta ste that can be measured and mapped out.Tschichold commonly expressed the impressiveness of constant adherence to standardised formats and while rules. Soon after being offered the job at Penguin, Tschichold produced a set of rules known as the Penguin Composition Rules (Doubleday, 2006b) that were to be followed by Penguins typographers and printers to ensure the books followed the same sort and that there were no variations. These rules, which ran into tetrad pages long, standardized the formats and typographic specifications and unified the design of the book series (Doubleday, 2006a). Tschichold implemented a coherent control control grid system in conjunction with the Penguin Composition Rules that set the foundation for the trimmed page area, width and height of each book, visual cover size, type area on cover and spine, position and style of the spine label and lettering on labels for all the Penguin series (Doubleday, 2006).One of Tschicholds grids to control the desig n and production of Penguin books with detailed instructions (Adapted from Hurlburt, 1978. p70)This higher up illustration shows that Behind the simplest grid there is often a complex process of analysis (Hurlburt, 1978, p71). Hurlburt cites that many publishers treat the book cover design as a separate entity, often using different designers for the book to encourage advertising. But a better looking product will result when the overall design of a book is considered in the early stages. Magazines and newspapers designers always pull in in the sizes of the established format (Hurlburt, 1978). On the other a book designer may have the responsibility to select the size of shaped and pages. Also, a concern with the weight and thickness of the book will put a triple-dimensional edge on the visit.Tschichold identified contrast as the most important important element in all modern design (cited in Hurlburt, 1979, px). Furthermore, Hurlburt (1979) believes that the importance of contr ast in the design of layout is very important. He statesThe contrasts of dark against light and large against small, the contrast of mood in subject matter, and the punctuation of space in strong accents all contribute to the dramatic presentation of graphic material. (Hurlburt, 1979, px)This element of contrast is clearly evident in Tschicholds turn for Penguin books The idea of great literary works mass produced and sold cheaply, the famous Penguin slogan Good Books Cheap (Doubleday, (2006b), p24). The brightly coloured contrasts of each genre cover. The separation of the cover into three coloured sections for publisher, book title and author, and logo. The dissimilarity compared to other books on a merchants bookshelf that makes them stand out. The moderate use of then contemporary fonts instead of traditional ones.Doubleday (2006b) reasons Tschicholds main objective at Penguin bookswas to synthesize all of the Penguin series with unprecedented quality, distinctiveness, and uni form styling, while at the same time, designating singular individuality and genuine features for each and every book. (Doubleday, 2006b, p45)RationalePenguin books have been in production for over 70 years and although the cover designs have seen changes from different designers, the Tschichold era remains to be the most studied and the most iconic. Tschichold left a lasting impression on graphic design that few could compete against and undoubtedly set the standard for successful book design.Tschicholds design work and principles while at Penguin, inspires a great standard for design, even for contemporary designers.What was it about the Penguin book covers that made them so successful and in retrospect, a dateless and iconic part of British design history?The two defining achievements for Tschichold and his time at Penguin are the standard typographic conventions of the Penguin Composition Rules and the rigid grid structure that nominated the design.The following list summarise s Tschischolds achievements while at PenguinDevelop a grid for rigid and consistent use across all platforms. The grid must have distinct planned placements for the different elements and provide balance and uniformityUse the Golden Section to influence proportionApply typographic standards for persistencyUse legible and contemporary typefacesPay close attention to brand loyalty and do not deviate far from itUse contrast for potent presentation of graphic material and to stand out from competition. Contrasting elements include colour, size and mood.Over the years, other popular culture mediums take shape that petition tactile and original design in order to survive in such a competitive market. Many companies choose to re-brand in order to refreshen their image due to decline in sales. In popular culture, it is not uncommon to recycle trends.Covers of contemporary media such as reckoner games have some similarities to book cover design after all, computer games are essentially a more interactive version of story-telling. Like book covers, they require the name of the publisher, the game authors, the title, room for illustration and other elements such as age-rating. A continuous grid structure that separates all these elements is used as well as typographic specifications.This shows a cover for Uncharted for the Sony Playstation 3 gaming console. It is a cover for the atomic number 78 range of Playstation games the games that sell a high amount in their first year. The design differs from the original game covers in order to signify its high acclaim in sales. These games are less than half the price of the original games and stand for good value gaming.The grid system used for the range of covers is shown below.IMAGEThe current design of Playstation Platinum covers is hotly debated. They are deemed ineffective, perhaps because of a grid structure that does not allow for a well-proportioned design. To clarify this, a short questionnaire with a series of e ight questions was presented to a number of computer-gaming community base forums. The questions were presented through Survey Monkey(http). The following is a breakdown of the questions with the three most relevant answers contributed.1.How many hours per day/week do you spend playing computer games?20 hours a week if I have timetoo many4 hrs per day20-25 hours per week2.Are you bothered by a games cover design?I prefer the cover to look nice, but not really no.A littleBothered no, but they can do catch my eye sometimes.3.Do you think a games cover design inspires you to purchase it?It might make me want to purchase a game I was already interested in a little more.Impulse buying, Yesno. the game has to be good for me to purchse it.4.Do you like to collect your game purchases and keep them in good condition?Yes. subsequently all, I worked to buy them.Yes I do like to keep them in good condition.no. I just toss them in a buck cabinet to play later.5.Do you ever buy from the plati num game range? If no, please specify a reason whynot for PS3 because of the game covers, but yes for other platformsNot usually, because I like to keep a well organized collectionNo as the boxart looks out of place with my other games6.What are your views on the platinum game covers?Plain. Should re-design the covers entirely.They are fine, and allow one to invite the cheaper games faster.platinum branding ruins the look7.Would you prefer to see a better cover design for the platinum range?Possibly modify the colour, reduce the size of the borders.They shouldnt be as conspicuous as they are (e.g. not luminous lily-livered for EU PS3 platinum covers)yes. Something that shows off the greatness of the game.8.Would you prefer to see the same cover design for the platinum range but with the price reduction only?No Have some distinction it is a platinum title.yes, however some indication that its platinum range would also be good, maybe a sticker or somethingid have no covers if it ma de it cheaperConsidering these comments, create an alternative grid structure that will influence better proportions.Practice1.Taking an accurate cadence of the physical dimensions and a rough idea of the elements to be included e.g. type size, line-height, image sizes.2.Thinking about the nature and content of the offer. Considering how to best present this and the amount of accent mark each element needs. Emphasis is the contrast between elements size, colour, disposition, placement. Used correctly, it should signify hierarchy.3.Considering which type of grid best suits the project.ILLUSTRATIONS OF GRIDS AND INFO ON TYPES4.Sketching the grid to a about accurate scale that justifies the division of space and the placement of elements at the co-ordinates.The following image shows a grid using a series of Golden Sections constructed from the dimensions of the cover. there are six Golden Sections reaching from each side of cover.Using the co-ordinates of this grid to position ele ments may seem unorthodox. There is no sense of pertinacity and unvarying spatial zones. However, the asymmetrical divisions of the Golden Ratio is the concept of its beauty and harmonious proportions.A Golden Section grid was best suited to this project as it called for irregular proportions and a slightly intuitive placement of the objects. There is a clear hierarchical structure evident in the design. The tripartite division of the cover resembles the Penguin series.The top horizontal division contains the well known Platinum title and is of a modest type size. It casually confirms the highly acclaimed status of the game. The colour choice seemed appropriate to be eponymous to the section.In the bottom horizontal division is the game title, publisher, game authors and age certificate. This division needed to be the largest to house all the objects. The game title has the largest font size as it is the most important characteristic of the game. It is slightly off centre to the ri ght and does not ordain with any other element. The unevenness gives the cover an edge and emphasizes each element individually. The choice of colour for the bottom division is reminiscent of the Penguin concept to visually signify the genre. It was decided to use a colour system of green for action at law and adventure, blue for sports, cerise for strategy, red for combat and orange for racing.The font used for the platinum title and game title is FF Blur medium by Neville Brody. Created in 1991, it was chosen for its irregular yet legible appearance that gives it a contemporary aesthetic. Its not too serious and not too playful, which aptly fits the nature of Playstation 3 and the temperament of its users. The font was chosen consistently for the platinum title and game title so that it keeps the range of games on the same level and is clear and lucid to observers on a sales stand.FF BLUR TYPEThe middle horizontal division contains the non-translucent part of the game illustrat ion. The illustration shows in-game action, like a snapshot of the game-play that encapsulates the greatness of the game. The top and bottom divisions are translucent to support a full cover illustration and provide a constant contrast against the text across all game covers. The middle division is structured as a focal file according the Golden Section and acts as a peer into the game-play.The borders to the left are kept constant with the regular non-platinum game covers. This is to keep an order of tenaciousness in a game-players library. Many mentioned in the questionnaire they are put off buying platinum games because the luminous yellow borders hamper their ordered games library.The overall appearance of the game cover is suggestive of the Penguin covers and what they stand for good games cheap. This is perhaps overlooked by most gamers, however, the design is not intended to be nostalgic.When a project is planned like this it leaves little uncertainty for positions, image s izes etc. In a well structured grid, elements fall into place and the design takes shape more easily. Careful planning of this type can be applied to all mediums of graphic design.Grids for books, posters, magazines, web design etc. call for different grid structures. It depends on the subject matter and how it is to be presented and communicated.When including photography in any piece of design it is necessary to have good composition. Golden Ratio dimensions can to jock compose a photography appropriately to achieve a sense of balance and harmony.The following page shows photographs that have been positioned appropriately to Golden Sections within a spatial zone. To do this, a program called PhiMatrix can be used as an aid. It displays a completely customisable Golden Rectangle over any program at any time. The three most important customisable features are the size of the rectangle, the amount of divisions within the rectangle and the style of Golden Rectangle. Although this pro gram is useful for quick mock-ups of Golden Rectangles, it restrains the freedom to move in and out of programs when you want the Golden Rectangle to stay positioned where it is. Also, it does not contain the ringlet rectangle.A better ancestor is to manually draw each type of Golden Rectangle. Begin with a scaled Golden Rectangle by using the Golden Ratio of 11.618. If the rectangle is 100mm in height, then it would be 161.8mm in width. To get the first vertical line for the grid do a calculation of 161.80.618 which equals 99.99mm. Make a vertical rule division 99.99mm across. To get the first horizontal rule for the grid do a calculation of 1000.618 which equals 61.8mm. Make a horizontal rule division 61.8mm up. These are the first two lines of the Golden Grid. If you need more lines in the grid for added structural assistance then times 0.618 by the next rule divisions i.e. 99.99mm and 61.8mm. Keeping repeating these steps until there is sufficient spatial zones to work with. For the grid to have a more modular structure, copy and flip the horizontal and vertical lines. For the purpose of positioning photography, four rules should be sufficient as shown.To draw a spiral Golden Rectangle begin by drawing a square and a horizontal halfway line of the square. Locate the point where the halfway line meets the squares edge. Draw a circle from this point with the radius of the distance from the point to the opposite top inlet of the square. Extend the square up until it meets the tangent point of the circle. Draw another within the new rectangle division and repeat the process three times for the spiral to emerge.The Golden Ratio is becoming more established as practicable method method in influencing graphic design. It is believed that many logos are influenced by the Golden Section.A fictional Swedish brand was created to use the Golden Ratio to create a logo. The brand is called Skogsr . The idea of the logo was to use three crowns as it is a national emb lem of Sweden, present in the Coat of Arms of the Realm of Sweden. The crowns were created using a total six Golden Rectangles that blend in to make up one large Golden rectangle.The finished logo was wrapped around a 3D-model of two beer cans using 3DS Max. The beer cans were positioned relative to a Golden Ratio grid. The end result is an example.EvaluationTo achieve a successful design solution, the process can be broken down and simplified by use of a grid. When all the necessary information of words and images are composed in a proportionate manner, the design then takes a energizing form. This is a fundamental part of what design is elements positioned in a beautiful and harmonious system.Considering which elements go where when piecing together a work of images and words can be for the most part an unsure process. Experience and perhaps an innate sense of proportion account for most judgements when weighing up proportion.Essentially, there are two methods in which a designe r can take to tackle a design problem using creative intuition about sense of proportion or using a grid for a sense of proportion. Both methods can result in a beautiful and harmonious design solution where all elements have a unique relationship to one another. It may be argued which method is best for the study of graphic design. From the experience gained during the course of this study, it has helped find solutions faster and more efficiently. Evidence shows designing with reference to a planned grid can consistently produce better results (Hurlburt,1978). When an intuitive course of action leads the creative process it could produce sometimes unordered and self-indulgent results. This may hinder the communication purpose of design. On the other hand, a purely hardheaded approach could result in design that lacks originality and flair. Breaking a grid in certain circumstances can be practical but cognize when to do so is importantEducation of design does not really call for a rigid use of grids. This is perhaps because people who seek roles in design are people with creative insight and have an innate sense of balance and proportion.A grid is essentially a combination of horizontal and vertical lines that act as a foundation for the placement of elements. The mind makes these lines when deciding where to place things. A grid can provide these lines and help the mind focus on the objective of communicating design effectively.Hurlburt(1978) states that many highly educated and and contemporary graphic designers can perform without the use of formal grids. eve so in Switzerland and Germany where it is believed grid systems originated.Grids provide a solid framework to work with and can be used in all desktop make software. Quite often, effective design ideas come as a correspondence in time between thoughts/moods and the design project at hand. There are times when creative ideas come to mind easily and design solutions are apparent. There times when the re is a dry-up of creative flow, possibly as a result of outside forces. During these times a solid framework with which to work is the best course of action. It is comforting that a framework that assists the creative process exists, as graphic design is often thought of as a purely creative line of work that combines knowledge in software and not as a subject where rigid structures exist.Grids provide beautiful harmony and make a design more lucid. It can make a page come alive. They are a guide to, but not a guarantee to effective design and a sensible approach to the design problem.The design work created has laid the foundations for effective future work

A Critical Analysis Of The Constructivism Method Politics Essay

A Critical Analysis Of The Constructivism Method Politics EssayThis essay attempts to provide an overview of constructivism in transnational relations possible action traces back its origins through writings of some scholars , evently Alexander W remaindert . It sheds light on prominence of constructivism as a challenger to the mainstream international relations.It first lays out the fundamental tenets of constructivism and examines their implications on opening new substantive areas to inquiry, such as the roles of gender and ethnicity, which be possess been largely absent from international relations approaches. Having defined some of the spirit features of constructivism as an approach, the article examines constructivism as possibility . This will be conducted through applying theory functions on constructivism.In addition , the essay shows some of the critiques of constructivism from realist and post-positivist point views. eventually . It concludes with the fact that co nstructivism is non independent and full-fledged theory but a theoretically informed approach to the account of global politics.Key words constructivism, ideas, identity, norms, culture, beliefs, sociable construction anarchy.Constructivism provides a good method, but a poor theory. Discuss.Until the dissolution of the Soviet Union, the debate between Neo-realism and Neo-liberalism has dominated the discipline of International Relations philistinism was the building blocks of mainstream international theory. For neo-realists, the principal determinant of state behavior is the distribution of military capabilities among states, consequently anarchy and the distribution of relative agent drive or so of what goes on in creation politics. (Copeland 2000187) .Neo-liberals in addition saw state interests as essentially material, even if they did posit the importance of international institutions as intervening variables.( Rues-Smit 2001224). Thus, brotherly analysis in internat ional relations scholarship has been marginalised.In the late 1980s and early 1990s, the writings of Alexender Wendt (1987, 1992), Friedrich Kratochwil (1989) and Nicholas Onuf (1989) established constructivist ideas, a genuinely radical secondary to conventional IR.Although a relatively new approach to IR, constructivism has returned international scholars to the foundational questions, including the spirit of the state and the concepts of freety and citizenship. In addition, constructivism has opened new substantive areas to inquiry, such as the roles of gender and ethnicity, which form been largely absent from international relations approaches. (Mingst 2000474)By reimagining the social as a constitutive realm of values and practices, and by situating psyche identities within such a field, constructivists have placed sociological inquiry back at the centre of the discipline. Aided by the momentous changes that attended the end of the Cold War, and also by the ongoing process of globalization, the constructivists interest in the ill-temperedities of culture, identity, interest and experience created space for renaissance in the study of history and world politics. .( Rues-Smit 2001226)Constructivism as an approachConstructivism is almost human consciousness and its role in international life (Ruggie 1998). Constructivists focus on the role of ideas, norms, knowledge, culture, and argument in politics, stressing in particular the role of collectively held or intersubjective ideas and understandings on social life. Specifically, constructivism is an approach to social analysis that asserts the following (1) human interaction is shaped primarily by ideational factors, not simply material ones (2) the most important ideational factors are widely shared out or intersubjective beliefs, which are not reducible to individuals and (3) these shared beliefs construct the interests and identities of purposive actors (Adler 1997, Price Reus-Smit 1998, Ruggie 199 8, Wendt 1999).The core observation in constructivism is the social construction of populace. This has a number of related elements. One is to emphasize the socially constructed nature of actors and their identities and interests. Instead of assuming that actors are born outside of and prior to society, the claim is that individuals are produced and created by their cultural environment. Nurture not nature. (Branett 2001 259).In an of-repeated phrase, Alexander Wendt captured the methodological core of IR constructivism anarchy is what states make of it. There is no objective international world apart from the practices and institutions that states arrange among themselves. In making that statement , Wendt argues that a self-help anarchy is not some kind of external given which dictates a logic of analysis based on realism self-help and power politics are institutions ,not essential features of anarchy(Wendt 1992395) ,(Jackson Sorensen 1999239)Alexander Wendt argues that politica l structure, whether one of anarchy or particular distribution of material capabilities, explain nothing. It tells us little about state demeanour It does not predict whether two states will be friend or foes, will recognize each some others sovereignty ,will have dynastic ties, will have revisionist or status quo powers, and so on. (Wendt 1992395) . What we need to know is identity, and identities change as a result of cooperative behaviour and learning. Whether the frame is anarchic depends on the distribution of identities, not the distribution of military capabilities, as the realist would have us believe. If a state identifies with itself, then the system may be anarchic. If a state identifies with other states, then at that place is no anarchy (.(Mingst 2000475)A security dilemma , for example , is not merely made up of the fact that two sovereign states possess nuclear weapons. It also depends on how those states view each other that view is based on shared knowledge. , (Jackson Sorensen1999238)In a constructivist analysis, agents and structures are in return constituted structures not only constrain actors, they also shape the identities and the interests of them. Thus structures are also defined by ideas, norms, and rules in other words, structures contain prescriptive and material elements. The challenge, therefore, is to recognize that the normative structure can create agents and that agents can create and possibly transform those structures. (Branett 2001 255).According to Alder , constructivisms importance and its added value for the study of international relations lie mainly in its emphasis on the ontological reality of intersubjective knowledge and on the epistemological and methodological implications of this realty. ( Alder1997322) .Additionally , power can be understood not only as the ability of one actor to do what they would not to do otherwise , but also as the production of identities and interests that limit the ability to con trol their life. In sum , the meanings that actors bring to their activities are shaped by the underlying culture, and meanings are not incessantly fixed but are a central feature of politics.Constructivism as a theoryHowever, despite of the intellectual vigour that constructivism has fostered, this approach has been criticized.John Mersheimer complains that constructivists beat too much emphasis on subjective ideas knowledge realists believe that the state behaviour is largely shaped by the material structure of the international system. The distribution of material capabilities among states is the key factor for understanding world politics. This means that everything is not uncertain or in flux, says Mersheimer, because the material structure is an objective reality and is not merely intersubjective. (Mearsheimer 1995a91-92).Although constructivism is deeply concerned with radically changing state behaviour, it says little about how change comes about. It does not tell us why particular discourses become dominant, and others fall by the wayside. And when constructivism trys to point out particular factors that lead to changes in discourse, often argues that material changes drive changes in discourse. So discourse is not determinative , but a reflective of developments in objective world..( Mearsheimer 1995b 42 ).In addition, neo-realists are sceptical about the importance that constructivists attach to norms, in particular international norms. Such norms surely exist, but they are routinely disregarded if that is in the interest of powerful states.( Jackson 2006 ). Moreover, there is no international consensus concerning norms of behaviour in the international system, primary of which is justice and human rights.At the same time, neo-realists are not ready to accept that states can easily become friends repayable to their social interaction. Such a goal may be desirable in principle, but not realizable in practice, because the structure of the internat ional system forces states to behave as egoists. Anarchy, offensive capabilities, and uncertain intentions combine to leave states with little choice but to compete aggressively with each other. For realists, trying to infuse states with communitarian norms is a hopeless cause (Mearsheimer 1995b 367).From the post-positivist side, Steve Smith argues that the constructivist view of how ideas and shared knowledge shape the way the actors see themselves in world politics is not sufficiently profound. Furthermore, the constructivist order of business is a rather traditional one, focusing on the interaction of states .There is no place for structure such as capitalism or patriarchy. (Smith 1997186)Finally, if, as constructivists claim, there is no objective reality . if the world is in the eye of the beholder , then there can be no right or prostitute answers , only individual perspectives. With no authoritative texts, all texts are equally valid both the musings of the elite and the practices of everyday men and women. (Mingst 2000476)Is it a theory?A theory is a based upon a hypothesis and backed by evidence it presents a concept or idea that is testable. In science, a theory is not merely a guess. A theory is a fact-based framework for describing a phenomenon. In social sciences, theories are used to provide a ideal for understanding human thoughts, emotions, and behaviours. A social theory has two key components (1) it must describe behaviour and (2) make predictions about future behaviours.To evaluate a theory, we must verify many conditions1- Generalizability applicability to many times, places, and issues.2-Empirical validity accuracy of predictions.3-Progression whether it expands to new predictions or degenerates by excessive modification.If we apply these conditions to constructivism, we will find that constructivism is uncomplete specific enough to be testable, nor parsimonious. And it is unclear what factors are cause nor which are effect. It does not prize deductive methods of theory-construction and does not seek to uncover causalities. ( Ruggie, 1998, 52)Constructivism is a various kind of theory from realism, liberalism, or Marxism and operates at a different level of abstraction. Constructivism is not a substantive theory of politics. It is a social theory that makes claims about the nature of social life and social change consequently it does not, by itself, produce specific predictions about political outcomes that one could test in social science research. (Finnemore Sikkink 2001393)As such, it is much more and much less than meets the eye. It is much less because it is not properly a theory that can be viewed as a rival to already existing theories. It offers no predictions about enduring regularities or tendencies in world politics. Instead, it suggests how to investigate them. Consequently, it is much more than meets the eye because if offers alternate ways of thinking about a range of issues. (Branett 2001 26 8)However, the debate about basic theory is of course relevant for the constructivist ambition of demonstrating that ideas matter. How exactly is it that ideas matter? Do changes in ideas always come before changes in material conditions? Do ideas guide policy or are they justifications for policy? Should ideas be seen as causes of behaviour in IR or should they rather be seen as constitutive elements that define what IR is all about? Further clarification in these areas is of zippy importance for the constructivist research programme. (Jackson 2006).Drawing on what mentioned above, there is scepticism about constructivism .whether it is properly to be seen as a theory of IR theory or as a philosophical category, a meta-theory or a method for empirical research, or whether it is indeed an approach relevant at several levels. ( Zehfuss 20029) . In conclusion, constructivism is not independent and full-fledged theory but a theoretically informed approach to the study of global politi cs.ConclusionConstructivism challenged the disciplines mainstream on its own scathe and on issues that were at the heart of its research agenda. (Branett 2001 268) However, the rise of Constructivism has had several important impacts on the development of international relations theory and analysis the social, historical, and normative have returned to the centre stage of debate, especially the American core of the discipline. . ( Rues-Smit 2001225)Constructivisms core assumptions have shaped its empirical research program in several important ways. They have shaped the kinds of questions constructivists tend to ask by opening up for inquiry issues that other approaches had failed to engage. Understanding the constitution of things is essential in explaining how they behave and what causes political outcomes. respectable as understanding how the double-helix DNA molecule is constituted materially enables understandings of genetics and disease, so, too, an understanding of how sove reignty, human rights, laws of war, or bureaucracies are constituted socially allows us to contemplate about their effects in world politics. (Finnemore Sikkink 2001394).Their claim deserves attention in a world where inflamed passions lead to bloodshed in the name of neither conquest nor class, but instead simply because of who the enemy is a Muslim, a Serb, a Tutsi, a Hutu, a Catholic, a Protestant, an Arab, or a Jew. Realism and liberalism are not incapable of explaining hatred, but they struggle to account for such widespread violence that serves neither Mammon nor the national interest. (Kowert,Paul 2001).Finally , Constructivism has become a phenomenon in IR not merely because many scholars adopted it , but because a lot of scholars debated and are still debating it .

Essay --

People from all over come to experience the Grand canon National Park, located exclusively in North Arizona. cover with unexplored caves and valleys, and immense messyons, the Grand Canyon is very well liked for hikers, whether that hiker is experience of a beginner. This park offers recreational events for everyone. Today, the Grand Canyon stretches come forward to be eighteen miles long in some places. The Grand Canyon has much to offer from hiking along a rough, yet narrow landscape, bringing the family pop to camp for a few days, gazing at the amazing scenery, or visiting the Indian reservations. This area contains several ecosystems and also hundreds to thousands of unique plants and animals. It contains fossils of corals, crinoids, and brachiopods that indicate warm equatorial conditions in a sea that once stretched across the continent. The stone looks different from the red wall, because 500 million years ago the ocean was closer to the ancient continent, and any mud and sand that washed off the land mixed in with the lime, making it crumbly and yellow (Weintraub 24). The rock layers in the canyon induct a magnificent color of stripes in the canyon walls that could be seen miles and miles away. Not only is this canyon enormous, but also this vast canyon can be seen from space. Although the canyon is not the deepest canyon in the world, it is known for its tremendous dimension and its vibrant landscape. This terrain reserves more than two thousand archeological sites of aboriginal Americans, who have also resided there for four thousand years. The park itself became a National Park in the year 1919. The Grand Canyon is a stupefy place to visit for all ages, and for the family to see the remarkable canyon formed not only by the erosi... ... patches along the river (Halvorsen 5). Separate from the eroding motion of the conscientious objector River, the flow of the debris played a major, yet foremost role in the broadening and expanding of the Gr and Canyon. All these elements contributed to the creation of the Grand Canyon, which s work on till this day remains a fascinating story and feature for every one of us, especially geologists, who still have many thoughts as to how the Grand Canyon was even formed. Rock layers that have formed the Grand Canyon, as everyone has seen, are created due to the sedimentations of the seas and the oceans. All of this is precisely evident of the fact that the rocks that are found on the sides of the canyon are made of sedimentary rocks. Scientists have said that the erosion is how the Grand Canyon was form, but there can always be something youthful to every evaluation of the Grand Canyon.

evilmac Shakespeares Lady Macbeth and Evil :: Macbeth essays

Macbeth Lady Macbeth and Evil In a play that is abundant in shame occurrences, Lady Macbeth is theoverriding source of evil in the scratch act. Lady Macbeth persuades Macbeth tokill Duncan, despite Macbeth listing eight reasons against the murder. WhenMacbeth is alone, we discover that he is a loyal thane to Duncan, not amurdering savage. When Duncan is in his house at Inverness, Macbeth comes to adecision not to kill Duncan. Lady Macbeth convinces Macbeth, who decidedstrongly against murdering Duncan, to go ahead with their plan to murder Duncan.Lady Macbeth is very successful at persuading him to do things that he knows bewrong. Macbeth is not an evil person, but when he is allowed to be influenced byLady Macbeth, he is vulnerable to bear downting deeds he knows are wrong. LadyMacbeth entirely breaks the stereotype of women being kind and benevolant in thefirst act. After Macbeth writes home telling of his murderous plans, LadyMacbeth begins talking to evil spirits. Because wo men frequently lack theruthlessness to kill someone, Lady Macbeth asks the spirits to make her male.One of the most vivid descriptions of Lady Macbeths wickedness is directlyafter Macbeth announces to her he does not want to kill Duncan.This speechepitomizes Lady Macbeths evilness. She is ruthless, and her evil accounts forthe murders that occur throughout the play Macbeth. Lady Macbeth is far more than savage and ambitious than her husband, yet sheconvinces Macbeth to commit the murders that will make them king and queen.Macbeth is without his wifes cruel and uncompassionate attitude towards life.Lady Macbeth is aware that her husband is genuinely a gentle person. However,she is able to manipulate Macbeth into committing evil deeds in order toachieve her desires. Lady Macbeth fears that Macbeth lacks enough courage andkiller instinct to murder Duncan. Lady Macbeth might be a more viciousindividual, but she is more afraid than Macbeth about killing Duncan. She nevermentions hersel f committing the murder, and she always insists upon Macbethexecuting the killing. The opportunity arises for Lady Macbeth to murder Duncan,but she decides not to. This is the first humane feeling that we see from LadyMacbeth in the play. Her desires and inspiration are very strong, but whenopportunity presents itself, she can not carry through with the act. Therefore,she uses her husbands photo to persuasion to achieve her dreams. The relationship between Lady Macbeth and Macbeth is based on politicaltriumphs, not love.Lady Macbeth often accuses her husband of talking but not

Enigmatic Lights On The Moon :: essays research papers

Enigmatic lights seen on the Moon are a classic example of a Fortean enigma. Called transient lunar phenomena (TLP), they have been a brain-teaser and a source of wonder to skywatchers since the earliest times. And yet, as astronomer Peter Grego points out, despite a wealth of detailed observations we seem no closer to an dread of what these anomalous flashes are.Not long after the telescope was invented at the beginning of the 17th century, astronomers came to realise that the Moon, our only natural major planet, was not as dynamic a world as the Earth. The dark lunar tracts which early astronomers had somewhat optimistically called "maria" (seas) turned out to be nothing more than deceptively quiet plains of impregnableified lava. Much to astronomers disappointment it became apparent that there were no appreciable expanses of water, though the new romantic marine nomenclature was retained, regardless - names alike Mare Crisium (the Sea of Crises) and Oceanus Procella rum (the Ocean of Storms) were given in a vain attempt to grant the Moon an air of mystery and excitement.In reality, the Moons surface appeared solid and unchanging. The Moon possessed no appreciable atmosphere and there were no detectable signs of lunar life the Church breathed a sigh of relief, having been spared the confusion of attempting to explain why the book of Genesis forgot to mention that our sister planet was teeming with the products of DNA.This initial im closetion of the Moon as being a nude and entirely dead world has been propagated in the astronomical literature ever since Galileo first published his observations in 1610.2 It seems, however, that the Moon has been receiving unjustifiably bad astronomical press for nearly three centuries, for reports of its long-standing status rigor mortis have been greatly exaggerated. Lunar observers (mainly amateurs) have noticed that the Moons surface is occasionally host to anomalous transient lunar phenomena (TLP) which ha ve assumed a variety of forms, including isolated flashes or pulses of light, coloured glows and obscurations of portions of the lunar surface. Just why the science of astronomy has been unwilling to accept that our satellite occasionally displays obvious signs of activity is almost as big a mystery as TLP themselves.There is no shortage of TLP having been observed by respectable astronomers. William Herschel, one of historys greatest astronomers - he discovered the planet Uranus in 1781 - observed a red glow in the vicinity of the crater Aristarchus on 4 May 1783, at a time when that feature was situated on the unilluminated lunar hemisphere.

Comparing Nature in Wordsworth’s Ruined Cottage, and Coleridge’s Rime o

Comparing the Representation of Nature in Wordsworths Ruined Cottage, and Coleridges Rime of the Ancient Mariner For most poets of the Romantic Age, nature played an invaluable role in their works. Mans existence could be moved(p) and explained by the presence and portrayal of the external nature surrounding it. William Wordsworth and Samuel Taylor Coleridge are no different from the other Romantic poets, and their works abound with references to nature and its correlational statistics to humanity. Specifically, Wordsworths The Ruined Cottage and Coleridges The Rime of the Ancient Mariner share the theme of nature affecting man, although essential differences exist in their ideas regarding how it affects man. These twain works are also similar in that they use a storyteller frame to both deliver and reinforce these ideas. In order for the contributor to fully appreciate the representation of nature in these two particular poems, it is necessary to supply a little background on each poet. Wordsworth reigns domineering in the nature tradition. His poetry makes tribute to nature in conjunction with examining the human state, while maintaining that the relationship between the two is unbreakable. In his book position Poetry of the Romantic Period, critic J.R. Watson claims the finest of Wordsworths nature poetry explores the relationship between man and the world seen in the spirit of love, in the attempt to demonstrate the government agency of nature in the rescuing of the individual mind from degradation, materialism, selfishness, and despair (114). Crediting nature with the answer to life, Wordsworths philosophy reveals that there can be no greater impartiality than that found in the simplicity of nature. He pulls from ... ...ompany, Inc., 2000. 422-38.Coleridge, Samuel Taylor. Biographia Literaria. The Norton Anthology of slope Literature The Romantic Period. seventh ed. Ed. M.H. Abrams. New York W. W. Norton & Company, Inc., 2000. 468-486.Harding, D. W. The Theme of The Ancient Mariner. Coleridge A Collection of Critical Essays. Ed. Kathleen Coburn. Englewood Cliffs Prentice-Hall, Inc., 1967. 51-64.Watson, J.R. English Poetry of the Romantic Period. New York Longman, Inc. 1985.Wordsworth, William. The Ruined Cottage. The Norton Anthology of English Literature The Romantic Period. 7th ed. Ed. M.H. Abrams. New York W. W. Norton & Company, Inc., 2000. 259-70.Wordsworth, William. Preface to Lyrical Ballads. The Norton Anthology of English Literature The Romantic Period. 7th ed. Ed. M.H. Abrams. New York W. W. Norton & Company, Inc., 2000. 238-251.