Art Fakes and Forgeries Essay Example

Art Fakes and Forgeries Essay Example Art Fakes and Forgeries Paper Art Fakes and Forgeries Paper Essay Topic: F for Fake The two essays, â€Å"What is Wrong with a Forgery,† by Alfred Lessing and â€Å"Artistic Crimes,† by Denis Dutton, explore the different reasons that they give negative connotation to the concept of an artistic forgery. Each author concludes that a forgery is indeed wrongful, however their reasons for this conclusion differ in several distinct ways. This essay will summarize both authors’ main points and compare and contrast the fundamental differences of their arguments. Lessing begins â€Å"What is Wrong with a Forgery† by establishing that forgeries are not void of aesthetic value. In fact, he states that a clear distinction must be made between the qualities that make a piece of art aesthetically pleasing and the non-aesthetic qualities that art critics consider when analyzing a piece. The concept of a forgery, he says, is purely non-aesthetic and should not be used to describe the beauty of a piece. To further illustrate this point and later points in his essay, Lessing introduces the case of the Johannes Vermeer fakes done by Hans van Meegeren. The painting The Disciples was thought to be a Vermeer masterpiece for 7 years until van Meegeren revealed that he had actually done the painting and misrepresented it as Vermeer’s. Lessing says, â€Å"The fact that The Disciples is a forgery is just that, a fact. It is a fact about the painting which stands entirely apart from it as an object for aesthetic contemplation. The knowledge of this fact can neither add anything to nor subtract anything from the aesthetic experience. Here Lessing establishes that his problem with the forgery does not lie within the aesthetic value of the art, so he introduces what he believes to be the real problem with a forgery: that it is an offense against what he calls â€Å"the spirit of the art,† and he contends that a forgery, such as The Disciples, â€Å"lacks artistic integrity. † To further illustrate this he considers that the concept of forgery cannot be applied to the performing arts, a concept which Dutton refuses to ac cept in his essay, which we will explore later. Lessing uses this concept to draw a distinction between creativity or originality and reproduction or technique. Technique, he says is public, it is something anyone can possess or learn, while originality or creativity is a deeper concept to explore. Both qualities in perfect balance, he asserts, are necessary to create a great work of art. Lessing says forgery is in the concept of originality and not technique stating, â€Å"forgery is a concept that can be made meaningful only by reference to the concept of originality, and hence only to art viewed as a creative, not as a reproductive or technical, activity. The element of performance or technique in art cannot be an object for forgery because technique is not the kind of thing that can be forged. Technique is, as it were, public. † In the Vermeer case, it is not the technique that was forged but his discovery of it; his originality in its use. Lessing further defines his view of artistic originality and its importance. He contends that true artistic originality comes from the impact on the history and progression of art. Vermeer, he says was a great artist because he brought new and original technique and style to the artistic community and profoundly impacted art history. The ability to produce aesthetically beautiful pieces of art is not all that makes a great artist, but it is this originality or â€Å"the fact that [Vermeer] painted certain pictures in a certain manner at a certain time in the history and development of art. † Van Meegeren did not possess this, he only had the technique to reproduce Vermeer’s originality. Lessing concludes with the assertion that since van Meegeren’s painting is aesthetically beautiful it is actually shows what a great artist Vermeer was. It is a testament to the original genius of Vermeer’s style and technique brought about in the 17th century. In Dutton’s essay, â€Å"Artistic Crimes† he, like Lessing, agrees that the intrinsic aesthetic properties of a work of art are not changed by the revelation that the piece is actually a forgery. Dutton’s stance on the issue of why a forgery is wrong differs most from Lessing’s in that he argues that there can be no distinction between creative and performing art. In Dutton’s opinion, every work of art involves some element of performance. The difference is whether we perceive the moment of performance or if we only see the end product of the performance. Regardless, this performance must be considered in appreciating a work of art. A performance he says represents a sense of accomplishment or achievement. Dutton states, â€Å"As performances, works of art represent the ways in which artists solve problems, overcome obstacles, make do with available materials. † This is an aspect of a piece that cannot be ignored when fully appreciating its artistic value. Dutton’s main problem with forgery then is not the lack of originality that Lessing speaks of, but that a forgery misrepresents achievement. In the van Meegeren case, for example, the problem is in that it was a much greater achievement for Vermeer to paint his masterpieces during the 17th century with the resources and technology at that time, than it is for van Meegeren to paint the same way in the 20th century with many more resources available. Another difference between Lessing and Dutton’s argument is that Dutton believes that a forgery does have originality and this is not its problem. Lessing believes that this lack of originality is the fundamental problem with the forgery, but Dutton states, â€Å"even forgeries – those putative paradigm cases of unoriginal effort – can have strikingly original aspects. † He goes on further to say that the van Meegerens are actually original van Meegerens, an original performance by van Meegeren was misrepresented as a Vermeer performance. Here, he asserts, is the misrepresentation of achievement that is the problem with a forgery. Dutton reiterates that the knowledge of the origin of a work and the artistic achievement that the piece represents is crucial to appreciating a work of art. The â€Å"aesthetic experience† that Lessing speaks of in his essay, Dutton discredits stating, â€Å"The encounter with a work of art does not consist in merely hearing a succession of pretty sounds or seeing an assemblage of pleasing shapes and colors. † The artistic experience he asserts is much more complex than that and when the performance that led to a piece of art is misrepresented the achievement that the art represents is misrepresented. To learn this fact changes the entire artistic experience when appreciating all aspects of the piece including the performance that led to its existence. Both Lessing and Dutton agree that the aesthetics of a piece are not altered by the acquired knowledge that it is a forgery. Where the two authors differ is in their concept of experiencing art. Dutton discredits Lessing’s belief in a purely aesthetic experience, believing that there are many more aspects involved in the artistic experience than pure aesthetics. The authors’ other key disagreement is in Lessing’s distinction between performing and creative art, saying that a forgery only exists in the creative aspect and the lack of originality in style and technique is where the forgery is wrong. However, Dutton disagrees, asserting that every piece of art involves a performance and this misrepresented performance misrepresents achievement. This is Lessing’s problem with a forgery because the achievement of the artist must be considered during any artistic experience.

Words for Extreme Weather Events

Words for Extreme Weather Events Words for Extreme Weather Events Words for Extreme Weather Events By Mark Nichol What’s the difference between a hurricane, a typhoon, and a tropical storm? The first two types of weather events are cyclones that sustain surface winds of at least 74 miles per hour- faster than virtually any highway speed limit in the United States. The term â€Å"tropical storm† refers to a degraded hurricane or typhoon. And why are there separate designations for hurricanes, typhoons, and cyclones, which are essentially identical weather events? Hurricanes are storms that develop east of the International Date Line, which runs north to south through the middle of the Pacific Ocean. Hurricane is derived from the aboriginal Taino language’s word hurakn, which was borrowed into Spanish as huracn and thence into English. Taino was spoken throughout the islands of the Caribbean Sea, so it is natural that the language would inspire present-day usage. (A number of other words survive by assimilation from that dead language into English, including barbecue, hammock, and tobacco.) Typhoon, by contrast, stems from Greek, although it refers primarily to storms occurring in the vicinity of China and the Philippines, on the other side of the International Date Line. What’s the connection? The Greek term typhon was appropriated by the Arabs and thence found its way into Chinese, influenced by a similar-sounding Chinese word for â€Å"big wind.† And cyclone, also from Greek (ultimately from kyklos, also the origin of circle and cycle), is used popularly in the South Pacific Ocean, though scientists worldwide use the term when speaking or writing in English. Why do we capitalize names of hurricanes, typhoons, and tropical storms, and why are they assigned people’s first names? These are conventions established in the early 1950s by the scientific community to distinguish between two or more weather events occurring at or near the same time. (For the first quarter-century, only female names were used, following an alphabetized list. Starting in 1978, male names were used as well.) The tradition of assigning personal names to severe storms actually goes back hundreds of years, however; Caribbean hurricanes were named after saints based on which saint’s day the storm occurred, and the assignment of women’s names dates to the late nineteenth century. Some eighty names have, because of the catastrophic severity of the event, been retired from the list, an average of more than one a year; in 2005, Hurricane Katrina was only one of five storms whose names were retired because of the especially devastating nature of the storm. The score given to quantify a hurricane’s strength is also capitalized; the highest level is Category 5. Todays YouTube video: Inquire vs. Enquire Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Vocabulary category, check our popular posts, or choose a related post below:Arrive To vs. Arrive AtCapitalization Rules for Names of Historical Periods and MovementsHow Long Should a Synopsis Be?

Child Development Junk Food Essay Example | Topics and Well Written Essays - 750 words

Child Development Junk Food - Essay Example Increasing rate of obesity, lower IQ, excessive use of artificial flavours, and the increasing rate of heart diseases, excessive blood pressure, and diabetes and cholesterol variations among the children give warning about the dangers of junk foods and it underlines the fact that junk foods have an effect on natural growth of children and it creates barriers in development process. Excessive use of junk foods affect development process and some studies endow with evidence that a considerable rate of difference in IQ level between children who practiced fast foods and children consumed vegetables and fruits. Jenny Hope rightly remarks; â€Å"Children who eat more chips, crisps, biscuits and pizza before the age of three have a lower IQ five years later, a study showed† (Hope, 2011). Young children who followed junk foods forced to accept more fat in their body and they get few vitamins and nutrients. Consequently, their brain never develops to optimum level. Children having low er IQ level show poor academic performance in their learning activities. Sooner or later, they feel practical problems in acquiring various skills like critical thinking, problem solving, decision making, listening, speaking, reading and writing. In case of physical health, junk foods put in severe health problems such as, obesity, depression, diabetes, and heart diseases. Generally, fast foods contain excessive amount of artificial flavours, colours, preservatives and other chemicals. All the above mentioned chemicals are not useful for human body. In addition, a child’s body is not capable to handle these chemicals. Development in scientific technology provides new facilities for cooking and these technological changes often forced the people to create a new food habit. â€Å"These innovations contributed to a shift away from home-cooked meals toward processed food, thus increasing obesity† (Paxon, 2006, p.71). Healthcare officials and doctors have forced to practice improved diet through consuming fresh fruits, vegetables and grains. Obesity and related overweight problems create critical health problems in a child’s life. It negatively affects child’s academic performances as well as physical growth. A recent study reports that approximately 30 percent of North American children are obese. The report also mentions that â€Å"In general, children eat too much, and much of what they eat is unhealthy† (Health in Motion, 2008). Unlike North American children, immigrant children consume few processed foods and eat more fresh foods and vegetables. As a result, immigrant children always keep better performance in their health than other children. Another significant problem is that junk foods have been connected to cholesterol and it paves the way for high blood pressure because of excessive sodium content. High blood pressure increases the possibility of heart strokes and related heart diseases. Overwhelming use of processed fo ods creates barriers in the process of digestion and human body always forced to spend maximum energy for digestion. Discussions about the value of junk foods have acquired serious attention among the doctors as well as in media. Consumers are not aware about the quality of these processed foods and often used worst items. Producers of fast foods used high amount of sugar content which gives unusual fat in human body. The online article entitled; Eating Junk Food

Argument same sex marriage Essay Example | Topics and Well Written Essays - 1000 words

Argument same sex marriage - Essay Example In this essay argument will be presented as to why same sex marriages should be allowed legally and socially. Religious arguments against Same Sex Marriages Religion is one of the first arguments of a person arguing against same sex marriages. Homosexuality is not sanctioned by religion simply because it is considered against God and nature. The way people define the term nature is the not correct. What is nature? Many years ago using medicines was considered unnatural. Tribes considered marriages outside the clan as unnatural. Surgeries were unnatural at first. Science was also termed as unnatural†¦ The point people miss here is the fact that any change is the society is not tolerated or accepted by its members. It is very difficult for the society to break away from the old practices. Basically as a whole we human beings want to preserve the status quo at all times. We cannot digest changes in the society very easily and this is why we are very quick to point anything ‘u nnatural’ simply because we think that it is not justified to break away from the social norms of the society. The issue here is that social norms are ever changing and they are evolving so how is it possible not to accept the change in these norms. Eventually all things we considered ‘unnatural’ like science, medicines, surgeries etc became a part of our life. So until this point we have established how society is quick to label things as unnatural simply because they are not in line with the social reality of the people. The idea that some things are ‘natural’ and others are ‘unnatural’ springs from our religious beliefs. Religion has a very influential role to play in our lives. Even if we are religious or not the effect of religion on our lives cannot be denied. The same religion feeds us with beliefs that some things are unnatural. Christianity for example considers homosexuality morally repulsive simply because it is against the wa y of the God. The church accepts that immoral acts can be committed in heterosexuality as well but at the same time dismisses homosexuality on religious grounds (Matthews, T. 1997). Any argument against homosexuality cannot be more superficial than this one. There are no rational justifications given against homosexuality but still people argue that it is immoral to be homosexuals on religious grounds. People may not believe in religion but still they forward religious argument because they have been made to think that change in the society which will result from same sex marriages would be disastrous. They are against same sex marriages for no rational reasons. They just have attitudes and beliefs for which they have no rational ground. We can easily reject this claim of the society that homosexuality and same sex marriages is unnatural and all arguments given on religious grounds can also be rejected because they hold no rational argument in it. Family System and Same Sex Marriage s Another argument against same sex marriages is that such practices will destroy the family system of the society. People argue that men and women are both important for the nourishment and upbringing of a child and absence of even one can destroy the life of a child. Especially two men are not considered good parents for their children (Gend, D. 2010). Because same sex partners cannot rear children in a good way same sex marriages should be banned according to these people. Here we can apply the utilitarian principle

FIN501 MOD 1 Case assign Essay Example | Topics and Well Written Essays - 1000 words

FIN501 MOD 1 Case assign - Essay Example The organization wants to choose between offering the shares through an online auction or traditional book building techniques. AVG should issue shares through an online auction technique, which is better than the traditional method in almost all aspects. The online auction reaches more investors, it reduces the risks of under or overpricing, and the technique is less costly than book building (Corr, 2007). The organization should follow the rules of the technique strictly to avoid leaving out investors like Google did in 2007. Online Auction Attracts more Investors than Book Building I would advice AVG to issue its IPO using the online auction because the method is less costly, reaches more customers, and it ensures that the share price is based on its market value. The company reaches more investors by announcing the offer online and allowing customers to bid the price and shares that they would like to purchase (Gregorious, 2006). This is unlike the book building method where unde rwriters sell shares to the clients that they value more than others (Pequignot, 2005). The investment banks leave out the investors who bid low prices because the underwriters aim at maximizing their returns (Jones, & Yeoman, 2008). This means that investment banks aim at the wealthy and existing investors in the company. Auctioning allows numerous customers to bid because the online process is open to everyone, and it is cheaper to access the internet (Carter, 2005). AVG is likely to attract new and existing investors ranging from the wealthy to the middle income group in the society using the online auction (Khurshed, 2011). Auctioning Reduces Costs of Issuing Shares AVG would incur fewer costs using the online auction than the book building technique. The company does not have to incur the high costs of underwriting. These costs refer to the price that the company pays investment banks when they determine the price of issuing each share (Vermaelen, 2005). The costs also include the commission that the firm would pay underwriters to sell the shares by conducting road shows. The commission may be as high as 8% in some cases, and this may be costly for the company especially when it sells a few shares (Nyantara, 2005). The role of underwriters in the online auction is to help the company to set the price at which to issue shares based on the bids of all customers. This is not costly, and it means that AVG would cut on the underwriting cost. Other costs that the firm would incur using online auction are the Securities and Exchange Commission fee (Savitz, 2012). This fee covers the cost of registering shares with the registrar by way of a prospectus. The securities Exchange Commission fee and other costs account for 10% of the value of the collected capital (Savitz, 2012). This cost is also incurred using the book building process, and this means that the company cannot avoid paying the price. Auctioning IPO is Less Risky than Traditional Book Building AVG redu ces the risk of under or over pricing shares. This is because the directors of the company would determine the value of each share based on the investor’s bids. The bids represent the true value of the shares because the investors symbolize the market (Sherman, 2010). Google oversaw the bids from customers by determining their market price per share without considering the bids. The company ended up losing capital by leaving out some investors from

Benefits Of Playback Technologies Film Studies Essay

Benefits Of Playback Technologies Film Studies Essay In what ways can playback technologies be said to have changed or enhanced modes of viewing film or television? Before discussing if or how playback technologies have enhanced modes of viewing, it is pertinent to understand how and why technologies have changed. The first instance of moving image on screen was by the lumiere brothers and their arrival of a train film. This was shown to the amazement of the crowd as they mistook this for a real life event. This seminal moment would forever change exhibition of moving images and thus the lumieres blazed a trail for what we now consider contemporary film form. Around the time of the lumieres moving image, moving image itself was an incredibly new phenomenon and in the 1900s the moving image became massively popular, although for more of its novelty. Because of this it became a popular attraction for audiences attending travelling carnivals, music halls and vaudeville houses in the United States, public modes of viewing were now just aro und the corner The first static movie house solely designed for showing motion pictures was Tallys Electric Theater, in Los Angeles in 1902 one of the first modern movie palaces. It was also a forerunner to the more omnipresent nickelodeons (named because the entry fee was a nickel) that opened in 1905. This soon developed into a small yet popular movement in the US and people were consuming short films in the public sphere. This model of the public consumption of movies is of significance with regard to enhancing modes of viewing as it created a sense of a cinematic community. In 1912 film moved from the grass roots nickelodeons into real film theatres. The sole purpose was exhibiting film, film and the industry became more robust and the film industry itself shifted from a travelling novelty to a credible business. The way in which we consume films has long been considered a public and social event, although the glamorous movie palaces of old had faced military bombardment in world war two Britain, and the public were refusing to attend decrepit movie theatres in the fifties and sixties. But when the seventies arrived, the wests economies had revitalised somewhat, and many people were moving house to the newly built suburbs, industry had changed also, as technology jumped forward, the shift was from manual industry to retail and computing. Because of this many people had more expendable capitol and a newly flexible working week, and the phenomenon of leisure time was born. Hollywood in the 1970s became astute to these many changes and overhauls and business practices along with public response as in 1975, the concept of a summer blockbuster was just beginning to materialise. For many years summer was considered out of season for the movie industry, partly because few moviegoers wanted to spend ninety minutes to two hours in a theatre without any air-conditioning. Jaws (1975) and Star Wars (1977) respectively were at the frontline of this new filmic movement, both films are seminal with regard to how business practice enhanced a public mode of viewing, Spielbergs Jaws, was the first motion picture to see the potential of television as a form of cross media marketing, until Spielberg came to this realisation television and film had had few dealings with one another. The two spheres existed in opposition until this time. Before the summer of 1975, Hollywood studios traditionally did not advertise their movies on network television. It was too expensive to do so and the risk of debt against a pre-realised film seemed suicidal. Shortly before the release of Jaws Columbia Pictures bought 40 viewing slots at prime viewing times, then, for three nights prior to the release of Jaws on June 20, 1975, Universal saturated the networks during primetime television with 30-second traile rs of the movie. this is I argue, one of the first times where these two mediums have existed in harmony, the private viewing sphere of TV influenced the public viewing sphere of film. Mainly because of how television beamed into the private home at times of the highest probable viewing figures, i.e ad breaks between the modern equivalent of ITVs The Xfactor, saturating the airwaves in such a manner shot Jaws into the record books, this two pronged approach to film marketing changed modes of viewing instantly as it brought all tiers of the public together by creating a none discriminatory genre, that is utilized even more predominantly to this day, the blockbuster evolved from a film term denoting a motion picture that had surpassed profit expectations and popularity. To that of a bona fide Hollywood genre, with execs wanting to harness such profitability to minimise risk, public reaction to Jaws fed back into Hollywood and the blockbuster as a genre is created Furthermore Jaws helped set the trend in other areas as well, that of the opening in multiple theatres across a country. Although, Jaws was not the first film to adopt a model of saturated cinema release patterns; In 1970s the public saw the long awaited release of Francis Ford Coppolas The Godfather. Prior to The Godfather, high-profile movies would usually play for three months in only one place, either one theatre or one city, before slowly feeding into other major cities and then, finally, to second- and third, small cinemas in small towns across the country. This modest mode of exhibiting film did have methodology, the film was allowed to spin its own hype, this kept costs down for companies and allow people to advertise the movie themselves via word of mouth. The Godfather had hit a new system of exhibition more through luck than judgement admittedly; Spielberg adhered to this mode of exhibition with Jaws. The film opened in nearly 500 theatres, and in an astounding 78 days it had already dethroned The Godfather at the box office. This level of public following and adoration had the knock on effect of creating a level of fandom and fan following, through saturating the public domain of film exhibition with these films; it created a metaphorical community of avid followers, which all revelled in the images Coppola and Spielberg created. These two directors enhanced modes of viewing via these methods, both synergy and saturated release patterns were pivotal for box office profits for both these movies. Also due to the sheer amount of people who consumed both these texts, Jaws brought people out of the domestic home into the public cinema, and through saturation Coppola created a level of public following present in both films, which enhanced understanding and thus blazed a trail for fandom to rise, Which Lucas Star Wars duly exploited with ancillary rights. Lucas utilized both synergy and saturation with Star Wars but elevated the brand by use of merchandis ing, the result was twofold, Star Wars as a means of producing income; was solidified, even if it was to be a box office flop, Lucas was sure to be in profit, secondly ancillary rights gave insight to the film and allowed fans to buy in to the brand, Lucas created a physical fan base with his Star Wars products, where before, Spielberg and Coppola only had a metaphysical community The discussion thus far has centred on how classic texts changed public modes of viewing, and through change, enhanced understanding of the films. Fandom is an important area to focus on when exploring modes of viewing as; when exploring the cinematic world at any length, the term cinephile will undoubtedly raise itself. This is a term given to a person that not only watches and enjoys the film and the world it creates, similar to the reaction to the three texts previously mentioned. As Christian Metz suggests: Enchanted at what the machine is capable of, the film devotee enters the theatre not just to encounter a particular film but to take ardent, fetishistic pleasure in the viewing conditions themselves The term cinephile would have been used to describe what we would deem a super fan by todays standards. Although it has been argued that film exhibition in the domestic setting is the complete antithesis of the purpose of film itself, which is to revel in the sheer spectacle of film on the big screen, and be completely absorbed into it. But with the inauguration of cinematic conventions into the domestic sphere with regard to playback technologies, therein the recreation of cinematic conditions within the home. It has brought the elitist cinephile into the home and moulded the act of cinephilia as a norm for any buyer of DVD; and this is perhaps most explicitly underlined with the implementation of the DVD in 1996. the film Twister lead this new charge, the digital versatile disc movie compressed film code smaller allowing more flexibility and more film data per unit; this allowed more of an all encompassing control over the viewing experience. The picture and sound quality were now of a cinematic rival. Furthermore the introduction of extra features about the film, director interviews, interviews with cast and crew, behind the scenes etc. This gave the audience an insight that was usually the territory of the avid fan of super fan, the audience revelled in this new knowledge and the power it yielded over the film. The DVD in essence brought the wider world of fandom where an avid fan would physically need to seek out further information about a film through television, paper and magazine interviews and the internet. The DVD gave a full panoramic view of the film, from pre to post production and all in between. It gives the owner of the disc an ownership of sorts of the film they have purchased, no longer does the spectator only gaze at film, passively taking in the codes and conventions of the film world, being absorbed into the film world. But almost in a Brechtian fashion, the consumer engages with the film, starting and stopping, learning and absorbing elem ents of the film through their own choice, and the DVDs features encourage and accommodate such behaviours. This mode of viewing brought the once super-fan behaviour to the mainstream public and in this case private sphere, thus fandom which was once the domain of eccentric fans has now become the norm through the various features on DVD. The subject of fandom becoming the norm is significant and leads me to my next point, that of the private predominance of film consumption. The days of public viewing of film being the sole exhibitor of film are unfortunately over, not to say the public event of film viewing is not still popular actually on the 18th of December to the 21st the fifteen films at the box office grossed a total of  £133,519,510.00. But what has changed, is how the public now move through films and film worlds with the invention of playback technologies, making the domestic sphere an easier and more appealing surrounding for film viewing. The ownership of home theatre technology allows a private sphere where people have the flexibility to watch films at their own leisure, without the necessity of attending a multiplex at a specific time. With the constant implementation of new technologies in the home, it is easy to see how they help the domestic sphere in its faithful recreation of a public mode of viewing, I argue this domestic sphere is likely to remain the more prominent mode of viewing in what is now a modern society, especially as soc ietal and cultural ethos has always been progression and not regression. This means, home theatre technologies and opinions towards it will enhance, progress and solidify, although Williams argues that the environment whereby we physically consume the film world is loaded with many sign systems influencing how and to what level we enjoy the film, it nevertheless supports the argument that even though a domestic home is busy, an often loud abrasive place to watch a film. The home world will endeavour in the recreation of an environment similar to a public cinema, i.e. wall mounted, flat screen television, HD, surround sound and ambient lighting. So these two worlds converge and interweave far more than suspected. Furthermore Eric Hirsh continues a similar argument. Since the late eighteenth century, private space of the home has often been idealized as a sanctuary from the complications and demands of public life. However, Hirsch argues, it is quite a different dynamic; Sustainable only through an ever-widening and interrelated set of connections with the public, the world of work, and society, from which it was self-consciously separated. He alludes to that of the domestic sphere running alongside the public one, rather than each sector being mutually exclusive but rather the private domain is existing with outside connections. Both these spheres now have a symbiotic relationship, the modern home and its inhabitants are not shut out of society when they move into the private sphere but rather consume from within, this mode of consumption is loaded with many cultural and ideological arguments, but there is a definite correlation between this and modern advancements in playback technology. The modern integration of these playback technologies into the home is a modern phenomenon and it cannot be denied that their implementation has changed modes of viewing beyond anything that could have been hypothesized many years ago. the domestic sphere has forever had tags of looking at the television with a somewhat roving eye, and the cinematic public mode of viewing has a engrossed eye, whereby the viewer is transported into the film world of the big screen, but these outside connections break the barrier between the two spheres. But the actual atmosphere of the home struggles to rival a cinematic one, nevertheless the two spheres have now converged via modern playback technologies. Although the inherent irony lies that this media self sufficiency is somewhat of an empty husk as it relies on the importation of such playback technologies from the outside. The more the private becomes saturated with commodities of the public it could be argued that the very term private will be a difficult description of the domestic sphere. Nevertheless the two domains do now interweave, which as discussed, was not apparent many years ago. Although where the dominance lies within which sphere can be ambiguous, although it could be argued that the internet is a one way door from the outside into the domestic and with people now consuming huge amounts of film texts via illegal streaming of just or pre-released texts, it looks unlikely that the public will place such high priority on the cinema again, with an engrained ideology of instant gratification, watching the public film from the private setting is now the norm. The prevalent enhancement rightly or wrongly to attach itself to new playback technology Modern modes of film viewing is not only privatised within the domestic, but also individualised within the mobile. IPods, PSPs, portable DVD players and mobile phones means modes of viewing are streamlined so we now move through this media in terms of film consumption, we no longer have the restrictions of viewing in public cinema or the domestic home, but rather the prior mentioned technologies make viewing mobile and endlessly flexible, for instance youripodmovies.com offer customers a vast database of movie titles to download and then watch directly off of their iPod. This streamlined individual control was epitomized in Newsweeks cover of the future of entertainment (fig 1). The imagery has connotations of a goddess like deity in full control of her own modes of viewing, a hectic lifestyle and the act of consuming on the move, her many arms each holding a different symbol of technology, the image of technological abundance and the message being that universal control now resides at the site of a single person, and not beamed at a passive individual, who had to adhere to scheduling etc. With such centrality of the controlling and consuming individual it is small wonder that public modes of viewing is falling out of favour as the sole exhibitor of new film texts. But if there is to be a cinematic hope it will be in Camerons Avatar, This film is perhaps as seminal as Jaws was in 1975. Camerons utilization of the reborn phenomenon of 3D, twinned with relentless synergistic marketing may bring the long lost youth audience back to cinemas to revel in the spectacle of cinema, and may take public viewing back to its main purpose, to view film, in a truly immersive panoramic sense, imparting the audience with a sense of being part of a film community. Rather than what the multiplex has been reduced to for many years, which is a social event and the film itself is of little interest to the individual watching it. Camerons use of 3D and large vistas makes Avatar a difficult text to transfer to TV or the private sphere as a whole. So there may be hope for the fans of watching film on the big screen. Furthermore the plot of Avatar has allowed Cameron limitless possibilities for ancillary rights to be utilized. The Avatar website encourages fandom on a m ass scale: video games, cast and crew interviews, videos and toys for sale to name but a few. This sort of business practice is significant as it typifies modern modes of film following, many production companies produce films that endeavour to ensnare audiences with these synergistic methods, and very rarely do they fail, providing such a deep level of insight into the film making process is a tactic adopted from the DVD format that many films now adhere to even before films are released, as it creates a pool of knowledge about the text which the spectators enjoy. Avatar has opened with incredible success. But due to many of the above discussed points, Avatar will not be representative of a trend returning back to public viewing modes, the hype was created and paid off at the box office. In three days it has taken $158 Million. But with a budget close to 500 million Avatar has a long way to go, but many markets from which to make profit. It seems unlikely that cinema will not ever reach out to all ages in society again, nor the levels of constant attendance that previous decade had attained, but is this a tragedy? Through streamlined and privatised modes of consuming films, it has enhanced the publics knowledge and enjoyment of new and classic texts. Films are produced for the public so the public should have the flexibility and choice how, when and where they wish to interact with their favourite movies. Hollywood is certainly not dead but traditional modes of regular public viewing, certainly is. 3095. References Klinger, B. (2006) Beyond the multiplex: cinema, new technologies and the home, University of California Press (referenced twice) (fig 1)

Managers :: Business, Transformational Leadership

Organizations need managers who are innovators because they offer the organization a competitive advantage and economic growth in a time of increased worldwide competition, technological revolution and fast shifting market situations (Damanpour, & Schneider, 2006). Innovative managers are good in adapting to new environments conditions because they form the organizational culture. Furthermore, they motivate and enable fellow managers or employees to build the capacity for change to occur. Organizations need to have many innovative managers because they have a positive attitude toward competition and entrepreneurship at the work place. Moreover, a manager’s capacity to innovate in an organization is positively associated with organizational climate (2006). Gumusluoglu, & Ilsev (2009) also states that organization needs to have many innovative mangers because they develop new and better products and services. Organization needs to have managers who are not afraid to take risk f or innovation to occur (Hancer, Ozturk, & Ayyildiz, 2009). A manager position permits other employees to gather and engage innovative thoughts from both the inside and outside the organization (2009). Organizations that have employees that trust each other are more likely to succeed (Simmons, 2002). This is because trust is the expectations or beliefs about likelihood that fellow employee’s actions will be beneficial or at least not harmful to his/her interests. Furthermore, an organization cannot succeed if the manager is not trusted because he/she will have extensive difficulties in establishing any trust with his/her fellow employees. Moreover, this can result in negatively affecting the organization culture and productivity (2002). Trust is very important for an organization because it explains the managers or employees organizational activities such as their â€Å"leadership, ethical behavior, teamwork, goal setting, performance appraisal, development labor relations and negations† (Andersen, 2005, p.396). This is because trust largely is contingent on the mutual confidence that no side in the relationship will exploit the susceptibility of each other (2005). Lastly, when employees perceived that their manager do not trust them, they start to mistrust the manager in a cycle of reciprocity (2002). Organizations need managers with integrity because they foster organizational compliance and create a positive environment within the organization (Verhezen, 2008). Furthermore, managers with integrity have a good moral character, are sincere, honest, and more likely to stick with their values (2008). A positive staff perception of a manager's leadership is associated with better job satisfaction and workforce retention (Jeon, Glasgow, Merlyn, & Sansoni, 2010).