Petterson Mound Term Paper Example | Topics and Well Written Essays - 1000 words

Petterson Mound - Term Paper Example C. (Davis & Treganza 1959: 5). A mound, which is known as an ancient Indian habitation site, appeared on the early map of San Francisco Bay area at location Ala-328. However, archeologists usually fail to establish whether the map location represents site Ala-328 or Ala-329 (Davis & Treganza 1959: 6). The Patterson Mound No. 1 is located on a piece of land owned by Mr. William Patterson, in Alameda County, due south of Alvarado town. The size of Mound is approximately 350 feet along the north-south axis, and it is ovoid in shape (Davis & Treganza 1959: 4). It has a known depth of 13 feet near its center. This piece of land extends from a flat alluvial plain, which is six feet above the sea level, and reaches a height of 15 and half feet above the sea-level (Davis & Treganza 1959: 4). The previous height above the sea-level has been significantly reduced due to the intensive cultivation, rodent activity, root crops and farm machinery. Patterson Mound covers an area that is slightly di fferent from other sites along the shore of San Francisco because of its relatively low content of soft-shelled clams (oyster), which is believed to be as a result of marshy slough (Davis & Treganza 1959: 4). ... Several burials and artifacts such as eye bone needle, thatching needle, fiber-strippers, antler digging tool, antler haft, pitted cobble, pecking stone, abrading stone, mussel shell spoon, whale bone object, sharpened elk ulna, drilled canine tibia, backed clay, scrapers and choppers were excavated from the site since 1935 (Davis & Treganza 1959: 27, 38). For instance, about 1000 artifacts and 169 burials have been recovered, with only about 20 percent of the site having been excavated (Davis & Treganza 1959: 12). Moreover, about 2000 artifacts and 260 burials had been recovered, by 1958, with only 25 percent of the site having been dug. Research Question This research method aims at establishing the correlation between material remains such as shells, stones, bones, and other preserved remains, and human migrations, culture growth and change, environmental impacts on cultural growth, and other aspects of human activities around San Francisco Bay area at location Ala-328. Data Requi red for Analysis Measurements: it is necessary to quantify different parameters of artifacts such as length, width, height, density, mass, and weight, including texture and color to collect valid information about burials and artifacts (Ferguson 2010: 12). Additionally, measurements within the Patterson Mound area are also significant, and it include calculating areas of separated fields, strata heights in accordance to the sea level (HASL) and relating HASL to retrieved artifacts. Association: This information is of significance in understanding cultural interactions within a given archeological site because it related the excavated artifacts to its environment (Ferguson 2010: 12). It also involves the classification of artifacts into different groups based on their

Concepts of Equality, Diversity and Rights in Health and Social Care Essay Example for Free

Concepts of Equality, Diversity and Rights in Health and Social Care Essay Within this assignment, I have been addressed as a manager of a residential care home and I have the responsibility to provide a set of materials (leaflets, booklets, PowerPoint slides, posters) that can be used for information and training purposes) for my training staff. I have chosen to do this by writing a detailed leaflet in the style of an assignment so information can be thorough and clear. Rights Within the category of health and social care, the rights that we’re entitled to are significantly important. From time to time, or even regularly individuals will have to use sectors that relate to health and social care such as going to the doctors, hospital or a dentist. These public health services are mandatory for individuals and the public to use as individuals with long term health conditions or disabilities rely on the care they provide. Among public health services there are also social care services which have a responsibility to provide support for individuals with mental health problems, supporting the elderly and also the disabled within their homes. Other services include receiving appropriate care in day centres, residential and nursing homes and giving children who don’t live with their parents the care they’re entitled to. From this, it is concluded that whenever an individual is provided to have to use the health care service, experience medical treatment or social care – they have the right not to be discriminated against in terms of gender, race, gender identity, religion, disability of sexual orientation. Not only are these rights mandatory, individuals are also fully supported and protected by the written rights under the European Convention on Human Rights which have relevance within health and social care as their rights include: The right to life, the right not to be subjected to torture or to inhumane degrading treatment or punishment, the right to liberty and security of person and also the right to respect for private and family life. Choice Across the UK, it is becoming more common that an individual is obtaining more control from being able to choose the care and treatment they are receiving. The full aim from this change of choice is to be able to entitle an individual to become fully aware of the treatment and support that is available to them and advice on which would be best to choose. An example of this could being able to choose the hospital and individual receives their care in or if they require care at home they should be given a cash budget to be able to suit their needs and money limits. Overall, choice is imposed within health and social care as it’s to ensure that individuals have access to the best and right support, having access to a range of health and social care services locally and nationally, being equal partners with their doctor or carer in their decisions about their health and social care, and also being entitled to what their choices are and to make this clear within all health and soci al care circumstances. Equality During 2010 the equality act was introduced, mandatory for protecting individual’s rights and promoting the significance and importance of equality of opportunity for every single individual. Whether these opportunities would be minor or major in value, the equality act would play a significant role in allowing these opportunities to commence. Examples of opportunities may include having the right to attend a public event, or having the right to use public services. Furthermore, equality is an important role which also links back to the role of discrimination as people can be discriminated against due to their age, race, disability, and gender and so on, the equality act of 2010 stops this from occurring within health and social care settings and it signifies that each individual should all be treated equally. Diversity Diversity is a more complex word for ‘difference.’ However, diversity is about acknowledging the differences between individuals themselves, and also group differences. Individual differences include factors such as differing within race, age, gender, social status, disability, weight and so on. A person within a health and social care setting as a worker may experience misuse of diversity due to a difference they may have to another individual. For example, if a nurse refuses to treat a patient who may be suffering from a common but life threatening issue such as a heart attack, but is also a disabled individual, this current nurse would be misusing the legislation of diversity awareness, and would also most likely be on the way to becoming unemployed. In terms of acts that are significant to the roles of diversity happening in health and social care settings, the sex discrimination act of 1975 is a prime example of how men and women are treated equally even though thei r genders differ.

Influences of Technology on Contemporary Abstract Art

Influences of Technology on Contemporary Abstract Art In order to establish an informed understanding of how contemporary abstract painting is situated in the art world today, this dissertation will investigate how painting has been questioned by artists since the 1960s. It will discuss how contemporary artists have been influenced by the expanse of the technological world and how they are influenced by or reflect upon this in their paintings. Another important area of discussion will be the work of contemporary artists whose abstract paintings dont appear to have adapted to technological change and dont seem to reflect transformations in contemporary culture. These are painters who are still continuing to create paintings about paint itself and are exploring what can be done with the material alone. It is important for this dissertation to begin by defining the modernist art movement and the arrival of creative thinking that brought abstract painting into history. The theories thoughts and ideas of critic Clement Greenberg will be discussed in order to set into context the work of abstract painting. Greenberg was an influential art critique during the twentieth century, who introduced an abundance of ideas into discussion around painting from the 1930s. In particular this dissertation will address Greenbergs statements about the importance of purity and flatness in modernist painting. The dissertation will then examine how the supposed end of painting provoked discussion in the1960s, addressing how the artist Ad Reinhardt explored paintings definitions. It will also be important to assess how the advances in technology and the popularisation of image have affected painting. This will then lead into a discussion about the work of a selection of contemporary artists who have conti nued to make paintings after the medium was pushed aside by critics. What has always developed the medium of painting is not only the artists individual passion and enthusiasm to explore the vast possibilities of using paint, but also the artists interest in displaying their conceptions, thoughts and feelings visually. Artists have repeatedly attempted to push their practice to new levels, break boundaries, and depict their philosophy through the use of paint. The communication between an artist engaging with a painting and the paintings audience interpreting the artists intentions or making an interpretation of their own creates a unique language of painting. It is this language that poses questions about painting and its context within contemporary culture and history. These questions will be evaluated in this dissertation in order to establish if and how abstract painting has developed since modernism. Gerhard Richter (b. 1932) is a significant artist of both the twentieth and twenty-first centauries whose artworks have questioned the role of painting through almost five decades. His personal writings and responses in interviews are a valuable resource and a record of his artistic intentions, subject methods and his overall questioning of the medium of painting. His work is particularly interesting as it moves between abstraction and figuration and it addresses the merging of painting and technology. Richter also works with paint in an abstract nature where he uses no representational imagery to depict his thoughts. This dissertation will study the artists developing body of painting and pull out the key questions he asks about painting through painting itself and discuss them in relation to modernism and to the artwork of younger contemporary artists. The first younger Contemporary painters work that will be discussed is that of Nicholas May (b.1962. His artwork uses an experimental painterly approach with the paint material. When talking about his work the dissertation will refer to art critic James Elkin and his ideas about the language of painting, exploring what paint can do on a canvas as a material. Whilst analysing Mays work it will also relate back to Greenbergs views on modernism and the concepts that have been lost and brought forward into contemporary painting. Another contemporary artist with a similar working method to Nicholas May is the John Moores painting prize 2010 exhibitor GL Brierley. Through Comparing his work to Mays and referring to modernist concepts this dissertation hopes to achieve an understanding of how these painters works fit into the art world today. Contemporary artist Carrie Moyers work is similar to Nicholas May as it contains alchemic experimental elements, flatness of the picture plane but graphic elements suggest her influence from the digital, she studied graphic design as an M.A. influences from that but later took a painting course MFA. Her use of glitter. Feminist writings interested in female artist today. Fiona Raes painting will also be of interest. Paintings are influence from the digital, Use of Photoshop to create paintings. Discussing the questions formed by these artists creative intentions, subject methods and sources of painting will form a discussion on the status of abstract painting and the artist in society today. Looking at how abstract painting was defined during the modernist era and how it has progressed over the years to present day. The following chapter will discuss where abstract painting came from and the ideas and theories of Clement Greenberg. Chapter One: Greenbergs Theories on Modernism. Clement Greenberg sets out to define the importance of abstract art in his first manifesto written in 1936 for the magazine The Partisan Review entitled Avant-garde and the Kitsch. Here he discusses for the first time concepts behind the modernist art movement. Greenberg viewed western painting up until the early 19th century as limited. The works had become stagnated and werent moving forward, they were stuck using the same techniques and form. They used skills in perspective and chiaroscuro to form deceptive illusionistic realities on the canvas. As impressive as this was as a technical skill there then became an urge for something new, to go beyond this way of working and to challenge the material and process of painting. Greenberg described this repetition as Alexandrianism that he defined as a motionless academism in which the really important issues are left untouched because they involved debate, and in which creative activity dwindles to skill in the small details of form wit h all larger questions being decided by the standard of the old masters, therefore with this nothing new is produced.  [1]  From this Greenberg defines the cultural importance of Avant-garde culture as stated: It has become amongst the signs in the midst of the decay of our present society that we some of us have become unwilling to accept this last phase of our own culture. In seeking to go beyond Alexandrianism, a part of western bourgeois society has produced something unheard of heretofore: Avant-garde culture.  [2]   Western societies were still recovering from World War one amid the Great Depression, with Nazism rising in Germany and the beginning of World War two approaching. Western societies at this time were stuck between two wars in a depression that followed a large increase in unemployment and bankruptcy. This decay of society heavily influenced artists and their paintings during the avant-garde movement. Modernist painting opened up art to all social classes and was a revolutionary art form that created the avant-garde culture. Painting before the modernist movement had been typically aimed at the upper class and only available for the bourgeoisie to view. The bourgeoisie is the class of people who owned and still own the means of production in the country capitalist, who exploit labourers for their own capital gain. The avant-garde artists abstract paintings scandalised the bourgeoisie by not displaying things as they are. Instead paintings were progressive, moving on from traditional realist painting and chose to use innovative forms of expression.  [3]  Artists began questioning the medium of painting and started producing works that formed a language of its own. Using painting they could visualise the subconscious and depict the world around them on canvas in a way that had never been done before. Although artists were opposed to the bourgeoisie capitalist values, they relied on these people for art funding. The avant-gardes stable source of income was provided from privileged among the ruling class, from which it thought of itself to be cut off. Greenberg described this as an umbilical cord of gold that has always remained attached. (Cite art in theory pg 542) Today artists find themselves in a similar position where they are often reliant on funding from galleries and the art establishment in order to produce and promote their artwork. This can lead to the artists work being restricted by gallery guidelines or what critics, collectors and the power figures of western art deem fashionable in contemporary art. Later in Greenbergs writing Modernist Painting written in 1960 he refines his definitions and explores themes further. Greenberg promotes in this essay the purity in painting in which he explores the restrictions of the medium of painting. The idea of purity in art and painting is that the art should continually move forward to improve itself by moving away from the use of imagery like that of the Renaissance. Instead Painting should move towards the two dimensional qualities of abstract painting.  [4]   Greenberg described this change in perspective in the following statement: Realistic naturalistic art had dissembled the medium, using art to conceal art; Modernism used art to call attention to art. The limitations of the surface, the shape of the support, the properties of the pigment were treated by the old masters as negative factors that could be acknowledged only implicitly or indirectly. Under modernism these same limitations came to be regarded as positive factors, and were acknowledged openly.  [5]   By deliberately drawing attention to the natural flatness of the canvas in a work of art, the artists have created a new perspective for the viewer to look towards the painting. In modernist painting the viewer is not meant to appreciate the deception of anything but instead admire the act of painting itself. The artist is freely acknowledging the processes limitations of trying to apply visual depth to a two-dimensional surface. Barnett Newman and Mark Rothko began a serious pursuit for flatness in their painting, aiming to create an infinite space on the canvas using a flat layer of colour and shape. Focusing on the images and content of a painting according to Greenberg was a negative factor, he believed for art to be pure and have clarity the subject matter must be thrown out and the emphasis should be put on the painting instead. Where as one tends to see what is in an old master before one sees the picture itself, one sees a modernist picture as a picture first.(cite modernist painting) This he believed was the best way to see any kind of picture and that modernism imposed it as the only and necessary way. Greenberg acknowledges in his essay Modernist Painting that the art of sculpture is by its very nature a three-dimensional form. Painting However is applied to a two-dimensional surface, modernist artists were inspired by that attribute, so rather than attempting to disregard it they embraced it. (cite MP) The artist Ad Reinhart (b.1913-1967) sought to achieve the ultimate modernist painting that contained definitive purity and flatness on the canvas. He took this tendency towards abstraction and simplification in modern art to the extreme when he created his controversial black paintings during the last ten years of his life. The next chapter will discuss Reinhardts definitions of painting and his belief that he had created the last painting. The chapter will also discuss the shift of painting from the limelight to background in art culture, as advances in technology and social interest change during the 1960s. Chapter Two: The End of Painting? Abstract painting No.5 (1962) is an example of the ‘black painting style which Reinhardt is best known for. The canvas appears to have a uniformly plain blue-black surface, an art piece devoid of colour and light. Seen up close however, the carefully painted layers reveal small amounts of blue, yellow and red. These colours form an underlying grid of different coloured squares, divided by a green central horizontal and a central vertical band that resemble the simple shape of a cross. Each of these colours were mixed with black oil paint to give a matt surface quality. (ref Tate modern) In an interview with Bruce Glaser, published in 1966 Reinhart discusses his black square paintings. He believed that there can be only one painting during one time and his were the only valid ones. In this interview he explains that he was trying to make the last ever painting. He also pronounces that his paintings were not about the materials or ideas and that each work he was working on always related to what he previously created. He believed art should be expressionless, clear, quiet, dignified and timeless (cite art as art pg13) in the following statement Reinhardt explains his ideas further: The one direction in fine or abstract art today is the painting of the same one form over and over again. The only intensity and the one perfection come only from long and lonely routine preparation and attention and repetition. The one originality exists only where all artists work in the same tradition and master the same convention.  [6]  (cite Ad Reinhart Art as Art art in theory. or Reinhardt art is art page 823.) By repeating his black paintings he believed he was creating works that considered truly the ultimate modernist pure form and paintings that had been developed as far as they could possibly go. Reinhardts paintings were formalist which meant the context of the work including the reason for its creation was not necessary; the only important factor was the paintings literal form. It can be argued that Reinhardts paintings contributed to the end of modernist painting. Greenberg wrote in his essay modernist painting his acceptance that The flatness towards which Modernist painting orients itself can never be an absolute flatness.(Ref) He claimed that the instance paint touches the canvas, some depth or form has been created, therefore the canvas ceases to remain flat. He uses the artist Mondrian as an example of how a simple mark on the canvas can create a kind of optical illusion that suggests a third dimension. CG, MP (1960) pg90). S. This optically according to Rosalind Krauss: was thus an entirely abstract schematized version of a link that traditional perspective had formally established between viewer and object, but one that now transcends the real parameters of measurable, physical space to express the purely projective powers of projective level of sight. (cite Page 29) She then continues to say that the most serious issue for painting in the 1960s was not to understand its objective features, such as flatness and material surface, but its specific mode of address and to make this a source of new conventions. (Page 29.) Therefore the 1960s brought art into a situation where the concepts and ideas in a piece of art had taken precedence over the aesthetics of the object calling the end to modernism and brining art into the post-modern age. Professor Anne Ring Peter states in her essay painting spaces that The experiments of the 1960s and the 1970s had moved art into a post-medium condition (Rosalind Krauss 1999 cite pg 32 ). In which traditional arts past categories have been diminished by new interdisciplinary overlaps, and the modernist discourse on the specificity of disciplines has been over taken by the new media and their seemingly tireless potential for re adjustment, technology updating and the generation of new hybrids. Therefore painting is seen as restricted because of its simple and old fashioned materials with its thoughts being changed to the past because of its traditional origins it derives from. Pgs 123/124 CPC Paintings were now seen as dull and boring whereas the new media appeared more exciting, futuristic and popular. Peterson then states that: It is widely agreed that the cul-de-sac of painting was caused by the modernist attempt to preserve the discipline from contamination by other kinds of art and culture and restricts its activities to what the formalists regarded as its primary task: to explore the formal aspects of painting, on the theory that all painting is basically about painting. Pgs 124 CPC Through the arrival of new technology and bombardment of visual imagery this Cul-de-sac or dead end of painting placed it in the background of the art world, with more artists using new media and technology to express their ideas and perspectives through art.. Reinharts black paintings are therefore a great example of the modern paintings purism having reached an end. The following chapter will discuss Gerhards questioning of painting through his personal art practice from the beginnings of the 1960s. Chapter Three: Gerhard Richters Questioning of Painting. Gerhard Richter is a master technician and maker of painting having created both figurative and abstract artworks since the 1960s. During this time there was an upheaval in art criticism where painting was considered to have developed as far as it could go; therefore it was no longer the dominant art practice in society. Many artists were using new materials and methods to explore their ideas and perspectives of the world like performance art, body art, installation, video and conceptual but Richter chose to continue using paint. In his notes 1962 Richter sums up brilliantly where his passion for painting and creating art derives: The first impulse towards painting, or towards art in general, stems from the need to communicate, the effort to fix ones own vision, to deal with appearances (Which are alien and must be given names and meanings) without this, all work would be pointless and unjustified, like Art for Art Sake.  [7]   In this statement Richter is rejecting the modernist notion of Art for Art sake he believes that work with no meaning or purpose is pointless. Richters practice communicates his perspective of the world around him through his expression and questioning of painting. Richters work can be described as not fitting with any one genre moving between abstract and figurative or combing the two, one paintings form is a response to another. Richter believed that as soon as something turned into an ism, it ceased to be artist activity. He believed fixed categorisations of paintings do not serve matters of creativity. Restricting creative flow confines artistic practice and stops work developing. (cite384/5) His artwork therefore questions the art establishment and his painting in context with that.. It can be said that the artists personal development and exploration through painting is more important than how the figure heads of the art world decide to define it. Richter criticises the artists that are so consistent in their development, he never worked at paintings like a job. When artists were encouraged to make a consistent body of work or make a conscious progression from one area to the next Richter acted oppositional. His work progressed through his desire to try something new and fun. (cite384/5) If an artist needs money they may work towards a show, they may then produce works that fit into the guidelines of the gallery or collector. This work does not contain genuine artistic creativity and is a forced part of the artists art practice. Richters work moves away from convention and shows his personal development.. Modernist artist Ad Reinhardt believed that art work should be consistent and repetitive with one work of art leading into the next (cite art as art interview). Richter disregards Reinhardts modernist idea showing a progressive move from modernism. Before 1962 Richters artwork consisted of Representational paintings. In 1962 his art practiced moved to his first set of paintings based on photographs. This was due to the radical change in belief at the time about what art is; ‘that it has ‘nothing to do with painting, nothing to do with composition, nor with colour Photographs are and were in the 1960s seen in abundance everyday, Richter was inspired when he saw the photograph in an new light which offered him a new view, which he believed was free from all the convention he had associated with art. It had no style, no composition and no judgement. pg4 Therefore It was only natural for Richter in the aftermath of the avant-garde to abandon the world of painting objects and turn to the investigation of refined forms of perception in photography. Written in Richters statement in 1967 he talks about how â€Å"we have arrived at a point where we trust reproduced reality in the form of photograph more than we do reality itself. pg 47 This perception of the world is brought to the public by the media through the camera lends. Richters work forms a critique of how the mass media influence our thinking through the photographs in news papers, posters and advertisements. Richters collection of work atlas†¦. In an interview with Robert Storr in 2002 Richter discuses his painting Blurred table an oil painting of a table where the paint has been speared over the images disguising it. The photo for table came from an Italian design magazine called Domus. His initial approach to the photograph was to copy it realistically, but when he had finished painting it, he was dissatisfied with the result so pasted parts of it with newspaper. He was dissatisfied because there was too much paint on the canvas therefore he became less happy with it, so he over painted it. Then suddenly it acquired a quality that appealed to him and he felt it should be left that way. cite p259 This artistic development happened by chance and he learned from it then developed the medium and process to develop work further. He destroyed or over painted many pictures during this time, he wanted to draw the line from his older paintings, indicating that these earlier paintings were in the past and so he set table at the top of his work list. cite p259 Richters paintings 1965 Boy baker and girl baker were initially blurred by him to fix cracking in the painting but he got angry with it and smudged the oil paint about. Table was the first blurred painting, what provoked him to smear the image was as he describes it I painted it very realistically, and it looked so stupid. You cant paint like that, thats the problem Therefore the blurring technique started out as he describes it as either a technical emergency-cracking-or, a conceptual emergency pg382/383 His wiping away of a painting brings into question what makes a good or bad painting? Richter answers this by saying and that development in an artists practice by accident not by the convention of what is the right way to d it It is interesting that Richter felt the need to destroy his own work, what was so imperfect about the perfect picture? As a technique to give paintings an effect deliberately and also to wipe out paintings he found ugly therefore creating the painting with a status of its own. It is also interesting how obscuring the viewers vision of the piece lets them become more intrigued in the image. Through these works Richter questions the importance of colour and its effect on a painting. Richter believes that if you hang his grey paintings next to red or green the grey turns into a different colour each time, this made the paintings aesthetic when he didnt want them to be. His grey paintings intended to take the object in the photograph away from its natural colour which creates an artificial operation intending to distance the object. He believed the first artificial is taking the photograph. pg 54 Through these Photo Paintings he sets up a Post Modern dialect between Modernism and the 1970s. His expertise in the language of painting displays the fate of art in technology through his creation of photo paintings; these works combine painterly abstraction along with mechanic photography. Showing influences from modernism but also developing from it. Abstract paintings From grey to colour†¦ sep 1977 pg 94 For two years he had been working on a different idea from the grey pictures . He decided to start in a totally different direction as he felt this couldnt go on any further. on small canvases at random he put illogical colours and forms assorted. He called them ugly sketches the total antithesis to the grey paintings they are not legible, because they devoid of meaning or logic if such a thing is possible, which is an interesting question itself. This question opened up a new door into a world of his abstract paintings. From the 1970s Richter started to create his larger abstract paintings, In 1973 during an interview with Irmeline Lebeer, (pg 72 ) Richter is asked why he thinks people wont be interested in his abstract paintings. His responds to this was that this type of artwork puts him in a trap, because the public are used to seeing his realist better-known paintings. He is worried that his abstract works will look like mere scribbles to the public. 72 It is interesting that Richter challenges Greenbergs enthusiasm towards pure painting. page 93 through his abstract cage paintings These could be viewed as purist modernist style paintings purely about the flat colour and form however in a letter to Benjamin H.D. Buchloh in may 1977 Richter says that what makes me sick above all is when the describers build that up as pure painting, completely denying the value of the object. Firstly I have said pure painting -if it could ever exist- would be a crime and secondly, these pictures are valued solely and uniquely for their stupid bumptious object content. This naturally includes the effective recording of the painters blind, ferocious motor impulse, as well as the maintaining of a semblance of intelligence and historical awareness through the choice and invention of motif. page 93 t This twists the paintings that are so important to him which he says I have nothing to say and I am saying it twisting it round into we have nothing to say and we are not saying it these purist ideas are like that of Greenbergs modernism and this shows Richters progressive development in thinking since then. Richter is still practicing the painting today. Since the 1960s technology has advanced even further, we are in a time in the western world where the internet is in almost everybodys home the digital has taken over and the influence on painting has developed it further. The next chapter discussed the work of younger contemporary artists who are creating paintings in contemporary practice. Chapter Three: The Work of Younger Contemporary Artists. The artist Fiona Rae became in the public eye during the 1990s with her use of colour shape , flatness of the picture plain hybrid use of technology with paint Fiona Rae. Does her work loose something because it makes it easier to understand because of the figurative elements or is it just more pleasing to the eye and less confusing? Or maybe they add to the confusion. Or the confusion gives it more meaning? Its all in personal perspective when looking at the canvas. Greenberg purity in painting mentioned earlier. Absence of form gives s a painting more meaning. What Paint does in contemporary art above all mediums are engaged with the material and has a language of it own. The purity of painting describes of an earthly medium playing with the material ruined by technology? Artists who use Photoshop what does this do to painting? Fiona Rae. Compare to Nicholas May†¦ Digital looses the genuine experimental element tried and tested on the computer. Visually biased not a true record of thought with paint. First see it on the comp then try and replicate it. Not learn from it adjust it and edited on canvas till it is how the artist feels it should be. Maybe then the computer is the record of thought a technological one less about the material itself but about the colour and shape and that aspect of form composition. Maybe my view is biased because I personally enjoy works where you can see the application of the paint and the surface. Flat plain colour painting has been done before but so has the other, maybe more to learn from the other than the flat. The computer is the record of the thought and brings a whole new element into the paint. Does this push the medium or destroy it? Forms a new Hybrid? New is goodright? Nicholas Mays work involves stuff In the article ‘Intention, Meaning and Substance in the Phenomenology of Abstract Painting Professor of Philosophy Dale Jaquette discusses the writing of Gertrude Stein, a critique and commentator on culture in particular modern abstract painting. Stine is fascinated by the visual possibilities of oil paint applied to a surface. It is something she finds intriguingly to admire. According to Stein â€Å"The existence of the oil painting itself is the thing that draws us powerfully, whether as representation or abstract image.â€Å" Jaquette believes that paintings do have this effect to draw us in. Stine continues to say That: when we experience painting especially but not uniquely it fascinates us because it not only reveals the world as seen by the artist but, perhaps more obviously, and, in the case of abstract art more purely and essentially, because it reveals the artists mind, the artists outlook on the world and conceptual framework, history background, obsessions, preoccupations and in a personality. pg 41 para 2 People believe that there is more talent in representational painting, however representational painting is a depiction of something other than the artists themselves. Every splodge splash brush mark and controlled abstraction is the interpretation of the artist a view of their perspective trying to capture an emotive, So it does more than just representing something that exists. Does repeated exposure to abstract art wear thin? What has been interesting is no longer what was free expression has it grown old? Has the medium been pushed so far it can no longer express anything new? pg 48 What was exciting and new pushing boundaries cant anymore because we have become desensitised by the work. Fischer pg 49 What was shocking during the avant-garde cant be done now to create similar reaction. Its not revolutionary and has lost its voomft†¦ Has painting run its course? Jaquette suggests the value of abstract painting its not to illustrate†¦ pg 51 Why abstract arts are important. link to Richter†¦ What does GR say about the feeling of paint and what that does? Jacs view on Elkin/ My view on Elkin. pg 53 Its is the Art Historians and the critiques that decide what happens with painting. Elkins emphasises the role of the painter. They are entranced by the qualities of the paint and by the challenge of trying to make paint do what they want it to down when applying to the surface, in both figurative and abstract painting pg 54 para 3 This is why in contemporary day with all the other ways to express ideas they choose paint. Nicholas May link with the writing s of Elkin and Richters approach to abstracts. The fascination cant die in the individual thats why painting will live on! Nicholas May his experiment an Influences of Technology on Contemporary Abstract Art Influences of Technology on Contemporary Abstract Art In order to establish an informed understanding of how contemporary abstract painting is situated in the art world today, this dissertation will investigate how painting has been questioned by artists since the 1960s. It will discuss how contemporary artists have been influenced by the expanse of the technological world and how they are influenced by or reflect upon this in their paintings. Another important area of discussion will be the work of contemporary artists whose abstract paintings dont appear to have adapted to technological change and dont seem to reflect transformations in contemporary culture. These are painters who are still continuing to create paintings about paint itself and are exploring what can be done with the material alone. It is important for this dissertation to begin by defining the modernist art movement and the arrival of creative thinking that brought abstract painting into history. The theories thoughts and ideas of critic Clement Greenberg will be discussed in order to set into context the work of abstract painting. Greenberg was an influential art critique during the twentieth century, who introduced an abundance of ideas into discussion around painting from the 1930s. In particular this dissertation will address Greenbergs statements about the importance of purity and flatness in modernist painting. The dissertation will then examine how the supposed end of painting provoked discussion in the1960s, addressing how the artist Ad Reinhardt explored paintings definitions. It will also be important to assess how the advances in technology and the popularisation of image have affected painting. This will then lead into a discussion about the work of a selection of contemporary artists who have conti nued to make paintings after the medium was pushed aside by critics. What has always developed the medium of painting is not only the artists individual passion and enthusiasm to explore the vast possibilities of using paint, but also the artists interest in displaying their conceptions, thoughts and feelings visually. Artists have repeatedly attempted to push their practice to new levels, break boundaries, and depict their philosophy through the use of paint. The communication between an artist engaging with a painting and the paintings audience interpreting the artists intentions or making an interpretation of their own creates a unique language of painting. It is this language that poses questions about painting and its context within contemporary culture and history. These questions will be evaluated in this dissertation in order to establish if and how abstract painting has developed since modernism. Gerhard Richter (b. 1932) is a significant artist of both the twentieth and twenty-first centauries whose artworks have questioned the role of painting through almost five decades. His personal writings and responses in interviews are a valuable resource and a record of his artistic intentions, subject methods and his overall questioning of the medium of painting. His work is particularly interesting as it moves between abstraction and figuration and it addresses the merging of painting and technology. Richter also works with paint in an abstract nature where he uses no representational imagery to depict his thoughts. This dissertation will study the artists developing body of painting and pull out the key questions he asks about painting through painting itself and discuss them in relation to modernism and to the artwork of younger contemporary artists. The first younger Contemporary painters work that will be discussed is that of Nicholas May (b.1962. His artwork uses an experimental painterly approach with the paint material. When talking about his work the dissertation will refer to art critic James Elkin and his ideas about the language of painting, exploring what paint can do on a canvas as a material. Whilst analysing Mays work it will also relate back to Greenbergs views on modernism and the concepts that have been lost and brought forward into contemporary painting. Another contemporary artist with a similar working method to Nicholas May is the John Moores painting prize 2010 exhibitor GL Brierley. Through Comparing his work to Mays and referring to modernist concepts this dissertation hopes to achieve an understanding of how these painters works fit into the art world today. Contemporary artist Carrie Moyers work is similar to Nicholas May as it contains alchemic experimental elements, flatness of the picture plane but graphic elements suggest her influence from the digital, she studied graphic design as an M.A. influences from that but later took a painting course MFA. Her use of glitter. Feminist writings interested in female artist today. Fiona Raes painting will also be of interest. Paintings are influence from the digital, Use of Photoshop to create paintings. Discussing the questions formed by these artists creative intentions, subject methods and sources of painting will form a discussion on the status of abstract painting and the artist in society today. Looking at how abstract painting was defined during the modernist era and how it has progressed over the years to present day. The following chapter will discuss where abstract painting came from and the ideas and theories of Clement Greenberg. Chapter One: Greenbergs Theories on Modernism. Clement Greenberg sets out to define the importance of abstract art in his first manifesto written in 1936 for the magazine The Partisan Review entitled Avant-garde and the Kitsch. Here he discusses for the first time concepts behind the modernist art movement. Greenberg viewed western painting up until the early 19th century as limited. The works had become stagnated and werent moving forward, they were stuck using the same techniques and form. They used skills in perspective and chiaroscuro to form deceptive illusionistic realities on the canvas. As impressive as this was as a technical skill there then became an urge for something new, to go beyond this way of working and to challenge the material and process of painting. Greenberg described this repetition as Alexandrianism that he defined as a motionless academism in which the really important issues are left untouched because they involved debate, and in which creative activity dwindles to skill in the small details of form wit h all larger questions being decided by the standard of the old masters, therefore with this nothing new is produced.  [1]  From this Greenberg defines the cultural importance of Avant-garde culture as stated: It has become amongst the signs in the midst of the decay of our present society that we some of us have become unwilling to accept this last phase of our own culture. In seeking to go beyond Alexandrianism, a part of western bourgeois society has produced something unheard of heretofore: Avant-garde culture.  [2]   Western societies were still recovering from World War one amid the Great Depression, with Nazism rising in Germany and the beginning of World War two approaching. Western societies at this time were stuck between two wars in a depression that followed a large increase in unemployment and bankruptcy. This decay of society heavily influenced artists and their paintings during the avant-garde movement. Modernist painting opened up art to all social classes and was a revolutionary art form that created the avant-garde culture. Painting before the modernist movement had been typically aimed at the upper class and only available for the bourgeoisie to view. The bourgeoisie is the class of people who owned and still own the means of production in the country capitalist, who exploit labourers for their own capital gain. The avant-garde artists abstract paintings scandalised the bourgeoisie by not displaying things as they are. Instead paintings were progressive, moving on from traditional realist painting and chose to use innovative forms of expression.  [3]  Artists began questioning the medium of painting and started producing works that formed a language of its own. Using painting they could visualise the subconscious and depict the world around them on canvas in a way that had never been done before. Although artists were opposed to the bourgeoisie capitalist values, they relied on these people for art funding. The avant-gardes stable source of income was provided from privileged among the ruling class, from which it thought of itself to be cut off. Greenberg described this as an umbilical cord of gold that has always remained attached. (Cite art in theory pg 542) Today artists find themselves in a similar position where they are often reliant on funding from galleries and the art establishment in order to produce and promote their artwork. This can lead to the artists work being restricted by gallery guidelines or what critics, collectors and the power figures of western art deem fashionable in contemporary art. Later in Greenbergs writing Modernist Painting written in 1960 he refines his definitions and explores themes further. Greenberg promotes in this essay the purity in painting in which he explores the restrictions of the medium of painting. The idea of purity in art and painting is that the art should continually move forward to improve itself by moving away from the use of imagery like that of the Renaissance. Instead Painting should move towards the two dimensional qualities of abstract painting.  [4]   Greenberg described this change in perspective in the following statement: Realistic naturalistic art had dissembled the medium, using art to conceal art; Modernism used art to call attention to art. The limitations of the surface, the shape of the support, the properties of the pigment were treated by the old masters as negative factors that could be acknowledged only implicitly or indirectly. Under modernism these same limitations came to be regarded as positive factors, and were acknowledged openly.  [5]   By deliberately drawing attention to the natural flatness of the canvas in a work of art, the artists have created a new perspective for the viewer to look towards the painting. In modernist painting the viewer is not meant to appreciate the deception of anything but instead admire the act of painting itself. The artist is freely acknowledging the processes limitations of trying to apply visual depth to a two-dimensional surface. Barnett Newman and Mark Rothko began a serious pursuit for flatness in their painting, aiming to create an infinite space on the canvas using a flat layer of colour and shape. Focusing on the images and content of a painting according to Greenberg was a negative factor, he believed for art to be pure and have clarity the subject matter must be thrown out and the emphasis should be put on the painting instead. Where as one tends to see what is in an old master before one sees the picture itself, one sees a modernist picture as a picture first.(cite modernist painting) This he believed was the best way to see any kind of picture and that modernism imposed it as the only and necessary way. Greenberg acknowledges in his essay Modernist Painting that the art of sculpture is by its very nature a three-dimensional form. Painting However is applied to a two-dimensional surface, modernist artists were inspired by that attribute, so rather than attempting to disregard it they embraced it. (cite MP) The artist Ad Reinhart (b.1913-1967) sought to achieve the ultimate modernist painting that contained definitive purity and flatness on the canvas. He took this tendency towards abstraction and simplification in modern art to the extreme when he created his controversial black paintings during the last ten years of his life. The next chapter will discuss Reinhardts definitions of painting and his belief that he had created the last painting. The chapter will also discuss the shift of painting from the limelight to background in art culture, as advances in technology and social interest change during the 1960s. Chapter Two: The End of Painting? Abstract painting No.5 (1962) is an example of the ‘black painting style which Reinhardt is best known for. The canvas appears to have a uniformly plain blue-black surface, an art piece devoid of colour and light. Seen up close however, the carefully painted layers reveal small amounts of blue, yellow and red. These colours form an underlying grid of different coloured squares, divided by a green central horizontal and a central vertical band that resemble the simple shape of a cross. Each of these colours were mixed with black oil paint to give a matt surface quality. (ref Tate modern) In an interview with Bruce Glaser, published in 1966 Reinhart discusses his black square paintings. He believed that there can be only one painting during one time and his were the only valid ones. In this interview he explains that he was trying to make the last ever painting. He also pronounces that his paintings were not about the materials or ideas and that each work he was working on always related to what he previously created. He believed art should be expressionless, clear, quiet, dignified and timeless (cite art as art pg13) in the following statement Reinhardt explains his ideas further: The one direction in fine or abstract art today is the painting of the same one form over and over again. The only intensity and the one perfection come only from long and lonely routine preparation and attention and repetition. The one originality exists only where all artists work in the same tradition and master the same convention.  [6]  (cite Ad Reinhart Art as Art art in theory. or Reinhardt art is art page 823.) By repeating his black paintings he believed he was creating works that considered truly the ultimate modernist pure form and paintings that had been developed as far as they could possibly go. Reinhardts paintings were formalist which meant the context of the work including the reason for its creation was not necessary; the only important factor was the paintings literal form. It can be argued that Reinhardts paintings contributed to the end of modernist painting. Greenberg wrote in his essay modernist painting his acceptance that The flatness towards which Modernist painting orients itself can never be an absolute flatness.(Ref) He claimed that the instance paint touches the canvas, some depth or form has been created, therefore the canvas ceases to remain flat. He uses the artist Mondrian as an example of how a simple mark on the canvas can create a kind of optical illusion that suggests a third dimension. CG, MP (1960) pg90). S. This optically according to Rosalind Krauss: was thus an entirely abstract schematized version of a link that traditional perspective had formally established between viewer and object, but one that now transcends the real parameters of measurable, physical space to express the purely projective powers of projective level of sight. (cite Page 29) She then continues to say that the most serious issue for painting in the 1960s was not to understand its objective features, such as flatness and material surface, but its specific mode of address and to make this a source of new conventions. (Page 29.) Therefore the 1960s brought art into a situation where the concepts and ideas in a piece of art had taken precedence over the aesthetics of the object calling the end to modernism and brining art into the post-modern age. Professor Anne Ring Peter states in her essay painting spaces that The experiments of the 1960s and the 1970s had moved art into a post-medium condition (Rosalind Krauss 1999 cite pg 32 ). In which traditional arts past categories have been diminished by new interdisciplinary overlaps, and the modernist discourse on the specificity of disciplines has been over taken by the new media and their seemingly tireless potential for re adjustment, technology updating and the generation of new hybrids. Therefore painting is seen as restricted because of its simple and old fashioned materials with its thoughts being changed to the past because of its traditional origins it derives from. Pgs 123/124 CPC Paintings were now seen as dull and boring whereas the new media appeared more exciting, futuristic and popular. Peterson then states that: It is widely agreed that the cul-de-sac of painting was caused by the modernist attempt to preserve the discipline from contamination by other kinds of art and culture and restricts its activities to what the formalists regarded as its primary task: to explore the formal aspects of painting, on the theory that all painting is basically about painting. Pgs 124 CPC Through the arrival of new technology and bombardment of visual imagery this Cul-de-sac or dead end of painting placed it in the background of the art world, with more artists using new media and technology to express their ideas and perspectives through art.. Reinharts black paintings are therefore a great example of the modern paintings purism having reached an end. The following chapter will discuss Gerhards questioning of painting through his personal art practice from the beginnings of the 1960s. Chapter Three: Gerhard Richters Questioning of Painting. Gerhard Richter is a master technician and maker of painting having created both figurative and abstract artworks since the 1960s. During this time there was an upheaval in art criticism where painting was considered to have developed as far as it could go; therefore it was no longer the dominant art practice in society. Many artists were using new materials and methods to explore their ideas and perspectives of the world like performance art, body art, installation, video and conceptual but Richter chose to continue using paint. In his notes 1962 Richter sums up brilliantly where his passion for painting and creating art derives: The first impulse towards painting, or towards art in general, stems from the need to communicate, the effort to fix ones own vision, to deal with appearances (Which are alien and must be given names and meanings) without this, all work would be pointless and unjustified, like Art for Art Sake.  [7]   In this statement Richter is rejecting the modernist notion of Art for Art sake he believes that work with no meaning or purpose is pointless. Richters practice communicates his perspective of the world around him through his expression and questioning of painting. Richters work can be described as not fitting with any one genre moving between abstract and figurative or combing the two, one paintings form is a response to another. Richter believed that as soon as something turned into an ism, it ceased to be artist activity. He believed fixed categorisations of paintings do not serve matters of creativity. Restricting creative flow confines artistic practice and stops work developing. (cite384/5) His artwork therefore questions the art establishment and his painting in context with that.. It can be said that the artists personal development and exploration through painting is more important than how the figure heads of the art world decide to define it. Richter criticises the artists that are so consistent in their development, he never worked at paintings like a job. When artists were encouraged to make a consistent body of work or make a conscious progression from one area to the next Richter acted oppositional. His work progressed through his desire to try something new and fun. (cite384/5) If an artist needs money they may work towards a show, they may then produce works that fit into the guidelines of the gallery or collector. This work does not contain genuine artistic creativity and is a forced part of the artists art practice. Richters work moves away from convention and shows his personal development.. Modernist artist Ad Reinhardt believed that art work should be consistent and repetitive with one work of art leading into the next (cite art as art interview). Richter disregards Reinhardts modernist idea showing a progressive move from modernism. Before 1962 Richters artwork consisted of Representational paintings. In 1962 his art practiced moved to his first set of paintings based on photographs. This was due to the radical change in belief at the time about what art is; ‘that it has ‘nothing to do with painting, nothing to do with composition, nor with colour Photographs are and were in the 1960s seen in abundance everyday, Richter was inspired when he saw the photograph in an new light which offered him a new view, which he believed was free from all the convention he had associated with art. It had no style, no composition and no judgement. pg4 Therefore It was only natural for Richter in the aftermath of the avant-garde to abandon the world of painting objects and turn to the investigation of refined forms of perception in photography. Written in Richters statement in 1967 he talks about how â€Å"we have arrived at a point where we trust reproduced reality in the form of photograph more than we do reality itself. pg 47 This perception of the world is brought to the public by the media through the camera lends. Richters work forms a critique of how the mass media influence our thinking through the photographs in news papers, posters and advertisements. Richters collection of work atlas†¦. In an interview with Robert Storr in 2002 Richter discuses his painting Blurred table an oil painting of a table where the paint has been speared over the images disguising it. The photo for table came from an Italian design magazine called Domus. His initial approach to the photograph was to copy it realistically, but when he had finished painting it, he was dissatisfied with the result so pasted parts of it with newspaper. He was dissatisfied because there was too much paint on the canvas therefore he became less happy with it, so he over painted it. Then suddenly it acquired a quality that appealed to him and he felt it should be left that way. cite p259 This artistic development happened by chance and he learned from it then developed the medium and process to develop work further. He destroyed or over painted many pictures during this time, he wanted to draw the line from his older paintings, indicating that these earlier paintings were in the past and so he set table at the top of his work list. cite p259 Richters paintings 1965 Boy baker and girl baker were initially blurred by him to fix cracking in the painting but he got angry with it and smudged the oil paint about. Table was the first blurred painting, what provoked him to smear the image was as he describes it I painted it very realistically, and it looked so stupid. You cant paint like that, thats the problem Therefore the blurring technique started out as he describes it as either a technical emergency-cracking-or, a conceptual emergency pg382/383 His wiping away of a painting brings into question what makes a good or bad painting? Richter answers this by saying and that development in an artists practice by accident not by the convention of what is the right way to d it It is interesting that Richter felt the need to destroy his own work, what was so imperfect about the perfect picture? As a technique to give paintings an effect deliberately and also to wipe out paintings he found ugly therefore creating the painting with a status of its own. It is also interesting how obscuring the viewers vision of the piece lets them become more intrigued in the image. Through these works Richter questions the importance of colour and its effect on a painting. Richter believes that if you hang his grey paintings next to red or green the grey turns into a different colour each time, this made the paintings aesthetic when he didnt want them to be. His grey paintings intended to take the object in the photograph away from its natural colour which creates an artificial operation intending to distance the object. He believed the first artificial is taking the photograph. pg 54 Through these Photo Paintings he sets up a Post Modern dialect between Modernism and the 1970s. His expertise in the language of painting displays the fate of art in technology through his creation of photo paintings; these works combine painterly abstraction along with mechanic photography. Showing influences from modernism but also developing from it. Abstract paintings From grey to colour†¦ sep 1977 pg 94 For two years he had been working on a different idea from the grey pictures . He decided to start in a totally different direction as he felt this couldnt go on any further. on small canvases at random he put illogical colours and forms assorted. He called them ugly sketches the total antithesis to the grey paintings they are not legible, because they devoid of meaning or logic if such a thing is possible, which is an interesting question itself. This question opened up a new door into a world of his abstract paintings. From the 1970s Richter started to create his larger abstract paintings, In 1973 during an interview with Irmeline Lebeer, (pg 72 ) Richter is asked why he thinks people wont be interested in his abstract paintings. His responds to this was that this type of artwork puts him in a trap, because the public are used to seeing his realist better-known paintings. He is worried that his abstract works will look like mere scribbles to the public. 72 It is interesting that Richter challenges Greenbergs enthusiasm towards pure painting. page 93 through his abstract cage paintings These could be viewed as purist modernist style paintings purely about the flat colour and form however in a letter to Benjamin H.D. Buchloh in may 1977 Richter says that what makes me sick above all is when the describers build that up as pure painting, completely denying the value of the object. Firstly I have said pure painting -if it could ever exist- would be a crime and secondly, these pictures are valued solely and uniquely for their stupid bumptious object content. This naturally includes the effective recording of the painters blind, ferocious motor impulse, as well as the maintaining of a semblance of intelligence and historical awareness through the choice and invention of motif. page 93 t This twists the paintings that are so important to him which he says I have nothing to say and I am saying it twisting it round into we have nothing to say and we are not saying it these purist ideas are like that of Greenbergs modernism and this shows Richters progressive development in thinking since then. Richter is still practicing the painting today. Since the 1960s technology has advanced even further, we are in a time in the western world where the internet is in almost everybodys home the digital has taken over and the influence on painting has developed it further. The next chapter discussed the work of younger contemporary artists who are creating paintings in contemporary practice. Chapter Three: The Work of Younger Contemporary Artists. The artist Fiona Rae became in the public eye during the 1990s with her use of colour shape , flatness of the picture plain hybrid use of technology with paint Fiona Rae. Does her work loose something because it makes it easier to understand because of the figurative elements or is it just more pleasing to the eye and less confusing? Or maybe they add to the confusion. Or the confusion gives it more meaning? Its all in personal perspective when looking at the canvas. Greenberg purity in painting mentioned earlier. Absence of form gives s a painting more meaning. What Paint does in contemporary art above all mediums are engaged with the material and has a language of it own. The purity of painting describes of an earthly medium playing with the material ruined by technology? Artists who use Photoshop what does this do to painting? Fiona Rae. Compare to Nicholas May†¦ Digital looses the genuine experimental element tried and tested on the computer. Visually biased not a true record of thought with paint. First see it on the comp then try and replicate it. Not learn from it adjust it and edited on canvas till it is how the artist feels it should be. Maybe then the computer is the record of thought a technological one less about the material itself but about the colour and shape and that aspect of form composition. Maybe my view is biased because I personally enjoy works where you can see the application of the paint and the surface. Flat plain colour painting has been done before but so has the other, maybe more to learn from the other than the flat. The computer is the record of the thought and brings a whole new element into the paint. Does this push the medium or destroy it? Forms a new Hybrid? New is goodright? Nicholas Mays work involves stuff In the article ‘Intention, Meaning and Substance in the Phenomenology of Abstract Painting Professor of Philosophy Dale Jaquette discusses the writing of Gertrude Stein, a critique and commentator on culture in particular modern abstract painting. Stine is fascinated by the visual possibilities of oil paint applied to a surface. It is something she finds intriguingly to admire. According to Stein â€Å"The existence of the oil painting itself is the thing that draws us powerfully, whether as representation or abstract image.â€Å" Jaquette believes that paintings do have this effect to draw us in. Stine continues to say That: when we experience painting especially but not uniquely it fascinates us because it not only reveals the world as seen by the artist but, perhaps more obviously, and, in the case of abstract art more purely and essentially, because it reveals the artists mind, the artists outlook on the world and conceptual framework, history background, obsessions, preoccupations and in a personality. pg 41 para 2 People believe that there is more talent in representational painting, however representational painting is a depiction of something other than the artists themselves. Every splodge splash brush mark and controlled abstraction is the interpretation of the artist a view of their perspective trying to capture an emotive, So it does more than just representing something that exists. Does repeated exposure to abstract art wear thin? What has been interesting is no longer what was free expression has it grown old? Has the medium been pushed so far it can no longer express anything new? pg 48 What was exciting and new pushing boundaries cant anymore because we have become desensitised by the work. Fischer pg 49 What was shocking during the avant-garde cant be done now to create similar reaction. Its not revolutionary and has lost its voomft†¦ Has painting run its course? Jaquette suggests the value of abstract painting its not to illustrate†¦ pg 51 Why abstract arts are important. link to Richter†¦ What does GR say about the feeling of paint and what that does? Jacs view on Elkin/ My view on Elkin. pg 53 Its is the Art Historians and the critiques that decide what happens with painting. Elkins emphasises the role of the painter. They are entranced by the qualities of the paint and by the challenge of trying to make paint do what they want it to down when applying to the surface, in both figurative and abstract painting pg 54 para 3 This is why in contemporary day with all the other ways to express ideas they choose paint. Nicholas May link with the writing s of Elkin and Richters approach to abstracts. The fascination cant die in the individual thats why painting will live on! Nicholas May his experiment an

Themewriters Anonymous :: Creative Writing Essays

Themewriters Anonymous Hi. My name is Ben and I am a themewriter. I should have a Ph.D. in "Black Rot" There I said it. Is there some clinic for themewriters where I can check myself in. The first step is admitting that you have a problem. Judging from some of the discussion that has gone on, I feel good because I realize that I am not alone. I think we have to realize that we are all themewriters to a certain extent. Once we realize this, we can try to move beyond that theme. I am trying to move beyond the theme one step at a time. Was I doing it again? Sorry, it's a difficult habit to break. What does it mean to move beyond the theme? I don't know. That is why I have come here tonight. When we first started talking about themewriting I looked at themewriters with disdain. There is no way that I could be one of those robots. I didn't want to accept the fact that I was a themewriter because I had always been successful in classes. I was super at sitting down the night before a paper was due, whipping out a theme and receiving an "A" on a "well-organized, coherent paper." I would give myself a pat on the back, get drunk and celebrate my genius. Looking back, I am not completely devastated to find out that I'm a themewriter. After all, that was the only way I knew how to write. Themes don\'92t contribute to the understanding of the reader. They only communicate on the surface. You can get your one main point across and beat it to death in the five paragraph format. For a longer paper, just add paragraphs to the body. My question is, once we get beyond the theme where do we go? I have used the theme as a crutch- an excuse not to do any real thinking or contemplation on a subject. I just puke back what the instructor has already told me in an attractive, organized manner. This method is easier for a teacher to grade but I don't think it contributes to the understanding of everyone involved. By communicating in themes, we learn facts- not understanding or deeper meaning. In the handout written by Laib, we can see that organization is one of the keys to enhancing the understanding of both the reader and the writer.

Psychoanalytic Analysis Essay

Richard, 44 years old, was referred by his doctor who felt that he had a major drinking problem. Initially, Richard resisted seeing himself as a problem drinker and preferred the idea that he was depressed. Richard exhibits impulsive binge behavior, engages in frantic efforts to avoid feelings of loneliness, shows a pattern of unstable and intense interpersonal relationships, displays inappropriate anger, and manifests extreme mood swings. Nevertheless, it appears that Richard has no significant medical problems or medical history. Richards’s mother died when he was 10 and his father sent him to a private boarding school, feeling that he could not manage to bring up his son by himself. Richard felt that he was abandoned by both of his parents ? by his mother who died and left him and by his father, just when he had most needed his love, companionship and support. He has had three marriages, each of which ended when his wife left. Typically, each woman grew tired of his continual drinking binges and all that went with his alcoholism: getting fired from job after job, not being a father to his children, being abusive both verbally and physically to her and being extremely dependent on her. Consequently, Richard thinks that he did not have what it takes to keep a wife and eventually grew increasingly bitter towards women since they all left him when he needed them the most. In the aspect of his work, he feels a great deal of anger towards his former boss who fired him. He complains that when he was broke his boss took his job away from him and didn’t offer him support. Thus, in his eyes, important men always let him down including male friends who broke contact because of his drinking. Diagnosis (based on the criteria of manifestations), Psychodynamic Analysis, Use of Free Associations, Theoretical Treatment and Conclusion Based on the manifestations presented on the overview of Richard’s case, we can classify him to belong in the group of Psychiatric Disorders known as Personality Disorders. Personality Disorders are â€Å"pervasive chronic psychological disorders† characterized by an individual’s unique psychological traits and inability to form or maintain interpersonal relationships that revolve around the sphere of family, friends, and work environments ((MentalHelp. net, 2001). Richard’s salient manifestations are further classified into the Borderline type of Personality Disorder. Dombeck (2001), in his article â€Å"Borderline Personality Disorder Symptoms† enlisted the following symptoms, which are usually seen in persons with this state: †¢ â€Å"Frantic efforts to avoid real or imagined abandonment. A pattern of unstable and intense interpersonal relationships characterized by alternating between extremes of idealization and devaluation †¢ Identity disturbance: markedly and persistently unstable self-image or sense of self †¢ Impulsivity in at least two areas that are potentially self-damaging (e. g. , spending, sex, substance abuse, reckless driving, binge eating) †¢ Recurrent suicidal behavior, gestures, or threats, or self-mutilating behavior †¢ Affective instability due to a marked reactivity of mood (e. g. , intense episodic dysphoria, irritability, or anxiety usually lasting a few hours and only rarely more than a few days) A chronic feelings of emptiness †¢ Inappropriate, intense anger or difficulty controlling anger (e. g. , frequent displays of temper, constant anger, recurrent physical fights) transient, stress-related paranoid ideation or severe dissociative symptoms† (Criteria summarized from: American Psychiatric Association. (1994). Diagnostic and statistical manual of mental disorders, fourth edition. Washington, DC: American Psychiatric Association. ). Hence, as we can see in the aforementioned clinical manifestations, Richard can truly belong in this type of disorder.  A question may be generated in our minds as to the factors that can trigger the occurrence and aggravation of this disorder in an individual. In line with this, we can device the Psychodynamic approach, which will lead us to trace and analyze the advent of this condition to a person. According to Ballas (2006), one of the root causes or risk factors of Borderline Personality Disorder (BPD) is abandonment issues in childhood. As we can observe, we can directly relate this factor to Richard’s case since he perceived her mother’s death and his father’s decision to send him to the boarding school as abandonment. This issue has affected him in these ways: when his mother died, there was somewhat a feeling of loss as any individual could have when a loved one passes away. However, this feeling was aggravated by the decision of his father. Instead of comforting him, sending him away was the remedy because his father in turn had doubts if he can bring up his son properly. The decision of father was not helpful to the grieving Richard who absolutely by that time needed the support system to help him make it through. Further, this may have caused a significant anxiety, which can prompt the Richard’s disorder. Hence, this disorder as anxiety-related. As defined by Gale (1998), anxiety is an unconscious strategy in which an individual would want to avoid a negative stimulus in view of the fact that it causes a somewhat threat on his or her ego integrity. This must have played a role in Richard’s condition. In this way, defense mechanisms are the way to unleash their feeling within. Defense mechanism is defined and expounded as a psychological mechanism to lessen tension and to protect the ego from potential threat. Defense mechanisms can help an individual cope with anxiety or it can also be harmful. The defense mechanisms that we will be dealing with are still based on the definitions on the same article. As we can evaluate Richard’s symptoms, we can clearly discern the defense mechanisms that he used. Denial was one of them. It was characterized by his resistance to the fact that the doctor said that he has a major drinking problem. Denial was his attempt to eliminate the threatening information that he was confronted. Projection was also used in the aspect of his unsuccessful marriages. It was characterized by blaming his wives who left him to cover up the feeling of inadequacy as a husband to them. In other words, he projected his mistakes to other people. He also used displacement as a defense mechanism, as revealed by his an abusive husband and father. On the other hand, he exhibited five of the criteria for the disorder: impulsive binge behavior, frantic efforts to avoid feelings of loneliness, inappropriate anger, pattern of unstable and intense interpersonal relationships and extreme mood swings. The use of free association is helpful in this case as it can help to connect the details of the Richard’s thoughts and experiences. According to Chiriac (translation by Cristea, 2008), in her article â€Å"About the Free Associations Method†, free associations are useful in a way that â€Å"thoughts are autonomously activated by chance verbal associations, influence conscious psychic life in a frequently dramatic manner and the task of psychoanalysis is to bring such complexes to the surface of conscious mind and eventually integrate them into the patient’s life†. Thus, Richard’s thought may have been unveiled and interpreted by the doctor with the use of this method. Levin (2001) shared some important details in the treatment of BPD in her article in MentalHealth. et. She said that the treatment of choice for BPD, as with most personality disorders, is Psychotherapy. Further, it must be noted that making contract with the individuals with suicidal attempts is essential and must be taken as an initial action. Medications may be prescribed. However, there are still controversies on this matter. She also emphasized that the therapists or the clinicians must be firm in handling this individuals because BPD patients are difficult to deal with. As she recommended, the most successful and effective comprehensive approach to date has been Marsha Linehan’s Dialectical Behavior Therapy. This psychotherapy seeks to teach the client how to learn to better take control of their lives, their emotions, and themselves through self-knowledge, emotion regulation, and cognitive restructuring and is often conducted within a group setting. In addition, hospitalization will also be of great help since it provides a highly-structured environment necessary for the individual’s independence. As with this disorder, medications are not specifically prescribed. Nevertheless, some medications such as antidepressant and anti-anxiety agents may be necessary to alleviate associated symptoms. Hence, Levin (2001) also emphasized the importance of self-help and support groups for patient’s suffering from this disorder. Therefore, a sufficient understanding of the case has been achieved by those aforementioned points that have been discussed. We have traced how Richard has gotten his condition through a careful analysis of the objective manifestations, which have been presented in the overview of this study. We can associate how the events in Richard’s childhood contributed to the intrapsychic conflicts and anxiety that had developed in him in the course of time. We have utilized some defense mechanism that he used in order to protect his ego from anxiety-provoking stimuli. In this way, we knew how his past had greatly affected his interpersonal relationships, which include that of his previous wives and even on his children. Moreover, the symptoms that he manifested were useful in order for us to identify the disorder that he is into and so we knew that he has five of the necessary criteria to classify him in the Borderline type of Personality Disorders. On the hand, the use of free association method is valuable to recognize the underlying details behind Richard’s disorder. Finally, we learned how psychotherapy is necessary to treat his psychiatric condition, how support-system plays a vital role in achieving proper treatment goal and how hospitalization is necessary to facilitate structured environment for Richard. Thus, we learned how the living environment can truly impact a person’s psychological aspect, or should we say his integrity as a holistic being, throughout his lifetime.

Free Essays on Physician Assisted Suicide

Mary Thompson, 35 years old, was recently diagnosed with Amyotrophic lateral sclerosis (ALS), also known as Lou Gehrig’s disease. This disease, which results in progressive paralysis, can move rapidly through the body in less than two years. There is no known cause of ALS and no known cure. It is always fatal. Thompson was devastated by the news and knew that there was only one thing she could do. She didn’t want to be a burden for her family so she asked her physician to prescribe a lethal medication for her so she could end her life. Within that week Thompson was dead. This is known as â€Å"physician assisted suicide (PAS).† Many states in the United States have banned PAS. Oregon is the only state that passed the Death with Dignity Act. Even though many terminally ill patients decide to end their suffering by ending their life, doctors shouldn’t be able to assist them. Doctors are supposed to sustain and preserve the patients’ life in stead of killing them. Therefore, Physician Assisted Suicide is unethical. Assisted suicide has great potential for abuse. People without family support or adequate finances, as well as people suffering from depression, are pressured to choose death. â€Å"Suicide is often a desperate step taken by individuals who consider their problems so intractable as to make their situations hopeless† (Balch). Patients suffering from a terminal illness feels that they have no control over what they are going through. Therefore, many patients believe that death is the only way to solve the problem. However, human-rights activists argue that patients must have the freedom to choose when they want to die. But, if the patient is suffering from clinical depression then he or she cannot make his or her own decisions. â€Å"†¦Suicidal individuals tend to think in a very rigid, dichotomous way, seeing everything in ‘all or nothing’ terms; they are unable to see any range of genuine alternatives... Free Essays on Physician Assisted Suicide Free Essays on Physician Assisted Suicide Mary Thompson, 35 years old, was recently diagnosed with Amyotrophic lateral sclerosis (ALS), also known as Lou Gehrig’s disease. This disease, which results in progressive paralysis, can move rapidly through the body in less than two years. There is no known cause of ALS and no known cure. It is always fatal. Thompson was devastated by the news and knew that there was only one thing she could do. She didn’t want to be a burden for her family so she asked her physician to prescribe a lethal medication for her so she could end her life. Within that week Thompson was dead. This is known as â€Å"physician assisted suicide (PAS).† Many states in the United States have banned PAS. Oregon is the only state that passed the Death with Dignity Act. Even though many terminally ill patients decide to end their suffering by ending their life, doctors shouldn’t be able to assist them. Doctors are supposed to sustain and preserve the patients’ life in stead of killing them. Therefore, Physician Assisted Suicide is unethical. Assisted suicide has great potential for abuse. People without family support or adequate finances, as well as people suffering from depression, are pressured to choose death. â€Å"Suicide is often a desperate step taken by individuals who consider their problems so intractable as to make their situations hopeless† (Balch). Patients suffering from a terminal illness feels that they have no control over what they are going through. Therefore, many patients believe that death is the only way to solve the problem. However, human-rights activists argue that patients must have the freedom to choose when they want to die. But, if the patient is suffering from clinical depression then he or she cannot make his or her own decisions. â€Å"†¦Suicidal individuals tend to think in a very rigid, dichotomous way, seeing everything in ‘all or nothing’ terms; they are unable to see any range of genuine alternatives...

Report of Transcom Beverage Bd Essay Example

Report of Transcom Beverage Bd Essay Example Report of Transcom Beverage Bd Paper Report of Transcom Beverage Bd Paper Chapter- 1 (introduction) TRANSCOM TRANSCOM TRANSCOM 1. 1: Company overview: Overview: On the basis of an exclusive Franchise for Bangladesh from Pepsico USA, TBL acquired threemodern bottling plants at Dhaka,  Chittagong and Bogra from BBIL, Dhaka; EBIL,  Chittagongand NBIL, Bogra; in March 2000. TBL manufactures the famous Pepsi range of beverages-Pepsi, 7up, Mirinda Orange, Mirinda Lemon,  Slice and Soda. As a corporate citizen Pepsicobelieves it has a responsibility to contribute to the quality of life in our communities. TBL hasput into action this philosophy through  support of social agencies, projects and programs and thescope of this support is extensive and  it has not been difficult to blend with this philosophy sincethe TRANSCOM group also followed such a  corporate ideology. 1. 2 Objective of the study: Broad objective: Marketing Mix(4 p ¶s) Analysis and Competitors Evaluation? Specific objectives: To find the business portfolio of Transcom Food Beverage ltd. To know the marketing strategy of Transcom Food Beverage ltd. To find the pricing Transcom Food Beverage products. To find the Transcom Food Beverage ltd. ommunication system. To find the product of   Transcom Food Beverage in   last year To find the  last year product performance of   Transcom Food   Beverage ltd. 1. 3 Limitations of the study: In every research many work there is some limitations that the researcher faces while preparingdifferent activities. In the process of the research work,  we also f aced certain limitations thathampered the actual findings and analysis of our research work. Some of these notablelimitations can be identified are: The topic is mainly focused on product marketing strategy of Transcom Food Beverage Ltd. Transcom is a group of company. But here we emphasizing on   TranscomFood Beverage Ltd. So it seems to us as a  limitation of the study. They are very busy with their regular task. So, it becomes quite difficult for them to givetime to the outsiders. And also there are  some rules and regulations so that we cannotenter to the head office. So, that we have to talk with their company officers,staffs,employes . That was a big  limitation for us. We got only 2-3 weeks to prepare this report. This could be a limitation of this study. We had  faced electricity problem which consumed our  lot of time. It was a big limitation for us. Chapter -2 Research Methodology 2. 1: Sampling Plan: Sampling Procedure: The sampling procedure has been conducted on thedeliberate sampling method has used where  the respondents and the interviewees. Sampling Unit: In order to carry out the  research work, the study was focused ontaking the interviews of the personnel involved in the Transcom Food beverage ltd. 1. Number of respondents: 20 2. Age range: 20-40 3. Occupation: Student, housewife, service  holder 4. Economic status: Higher, middle class, lower  class. 5. Geographic location: Dhaka and outside dhaka. 2. 2 Data  Collection Techniques: Questionnaire: Unstructured and open-ended questionnaires (please see appendix) were asked to the  differentpeople of different areas of Bangladesh to find whether they are satisfied with Products of  Transcom Food Beverage ltd or not. Observations: When we visited the Gulshan office of   Transcom Beverage that time we used our ownobservations to collect certain pieces of  information about their product marketing strategy, newproduct performance as well as coming product of   Transcom food   Beverage ltd. Secondary Information: Secondary information has collected  by reviewing websites and some articles printed time totime and other relevant documents. . 3: Sources of Data Collection: Primary: The primary information is gathered through  informal interviews of the   employees working over  there under   Transcom Food Beverage. Secondary: Secondary sources had also  used to collect information. Secondary sources  include: Different articles, index of Transcom Food    Beverage ltd. Visiting website of Transcom Company. Physical visiting to Transcom Beverage factory. Other sources Chapter -3 Finding and analysis (part-1) 3. 1 Business Portfolio of Transcom Beverage: Beverage Items: 1. Pepsi 2. Diet Pepsi 3. Pepsi Blue 4. Pepsi Light 5. 7Up 6. Up ice 7. Mountain Dew 8. Slice 9. Mirinda 10. Mirinda Orange Food Items: Pizza Hut K FC 3. 2: The marketing strategies: Transcom Beverage is one of the leadind soft drinks proveder. Their solutions strategy leveragesone of our greatest assets a portfolio of outstanding quality. differentiate these solutionsofferings based on our in-depth consumer understanding, with a strong focus on social location. 3. 2. (1): Packaging and Branding: Packaging: Packaging involves designing and producing the container or wrapper for aproduct . Packaging plays a  part in delivering beverages to  customers safely. In all of   the production facilities, they minimize packaging waste from the supplies they receive,and they strive to reuse, recycle, or recover as much as possible of their waste. however, Blow-molding is a manufacturing process used  in the plastics and polymers industries to create hollowbut strong containers for their clients. Polyethylene Terephthalate (P. E. T. ) bottles aremanufactured using the blow-molding process. Currently, we are  constructing a blow-moldingproduction line at the Raleigh production facility. By implementing the blow-molding process,we will eliminate the ordering, shipping lizing of pre-madeP. E. T. bottles. Branding: 7 Up is a brand of a lemon-lime flavored non-caffeinated soft drink  . The rights tothe brand are held by Dr Pepper Snapple Group in the United States, and PepsiCo (or itslicensees) in the rest of the world, including Puerto  Rico, where the concentrate  is manufacturedat the Pepsi facility in Cidra. The7 Uplogo includes a red spot between the 7 and Up; this redspot has been animated and used as a mascot for the brand as Cool Spot. KFC is under the Yum! Brand name. Yum! also owns Taco Bell, Pizza Hut, LongJohn Silvers and AW, with more than 35,000 restaurants around the world. Product positioning: A product can be positioned  in the minds of the customer by 1. Maintaining proper attributes 2. Offering desired benefits 3. Using strong beliefs and values. 4. Continues communication Pepsi has always been brand that  embodies the most prevalent youth sentiment. Over the  years as youth has evolved, so  have Pepsi’s positioning and language. It  has, however, consistentlystood for what the youth stands for  ± right from  µYeh Dil Maange More ¶ to  µYeh HaiYoungistaan Meri Jaan ¶. Brand positioning of 7. up: The  brand ¶s proposition of ? Ekdum Asli Indian? Absolutely RealIndian) was brought alive on outdoors in some very interesting ways. KFC : A regional credit union that had an image that was outdated and did not reflect their  positioning . Their unique selling position was one  to one relatiomship with their customer whowere mostly working class individual. They also handeled all of their marketing and advertising 3. 2. ( 2): Pricing of Transcom food and beverage Products: Transcom food item price( pizza hut kfc  ) Product  name   Mrp KFC(  special  Burger)  180. 00  +  vat KFC(regular)  120. 00  +  vat KFC(Bucket)  850  +  vat KFC(French  fry)  95  +  vat KFC(  Soft  Drinks)  20. 00  +  vat Pizza  Hut(6  inc  pizza)  280. 00  +  vat Pizza  Hut(12  inc  pizza)  520. 00  +  vat Pizza  Hut(18  inc  pizza)  950. 00  +  vat Pizza  Hut(burger)  150. 00  +  vat Pizza  Hut(shorma)  95. 00  +  vat Transcom beverage item price(soft drinks) Product  Name   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  MRP Pepsi  (250  ml)   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  12. 00tk Pepsi  (500  ml)   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  28. 00tk Pepsi  (1  liter)   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  50. 00tk 7Up(250  ml)   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  12. 00tk 7Up(500  ml)   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  28. 00tk 7Up(1  liter)   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  50. 00tk MountainDew(250ml)   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  12. 00tk MountainDew(500ml)   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  28. 00tk Mountain  Dew(1liter)   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  50. 00tk Slice  (250ml)   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  15. 00tk Mirinda (250  ml)   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  12. 00tk Mirinda(500  ml)   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  28. 00tk Mirinda(  1  liter)   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  50. 00tk 3. 2. (3): Transcom food and beverage communication process Television: The TV commercial generally considered the most important media. For this  Ã‚  reason,when   Transcom Beverage launch  a new product they first make a meaningful advertise,because TVadvertisment catch the eyes of customer very rapidly. People are encouraged bythe new tv advertisment. Internet:  Nokia also use the internet and World Wide Web for their worldwide communicationprocess. Their ads include contextual ads that appear on search engine results pages. Event Sponsor:   Every year Transcom Beverage   sponsor various types of program. By doing this they getpublicity indirectly. For Example sometimes pepsi arrange football and  Criket match. They also arrange   Ã‚  Cultural function, concert etc. Press Advertising:  Press advertising describes advertising in a print medium such as  newspaper, magazineand journal. Transcom food and beverage print their ads by press  medium. Billboard:  Ã‚  This is one of the popular medium in communication process. Its cost is less than tvcommercials. If anyone miss the TVads or press advertising hopefully they will   not  missthe billboard ads. We can easily see a Transcom food and beverage(Pepsi,Pizzahut,KFC)billboard at prominent area in Bangladesh. Transcom food and beverage use 3 types of  billboard such as, Fixed, Moving and Neon Sign. Chapter-5 Conclusion Transcom food and beverage is well known franchise group in Bangladesh. Day by day it isincreasing its market segmentations. Transcom Foods Ltd Executive Director Akku Chowdhuryreceived the CEOs Award for  KFC and Running Great  Restaurants Pizza Hut award from Yum! Indian Subcontinent in Delhi at the franchisee awards show recently. This however was not the first award that Transcom Foods Ltd has been honoured  with. Therestaurants in Dhaka have been awarded twice before for being the best in the region. This recent accomplishment certainly asserts the standard of these international franchisees inBangladesh and their continued commitment to the customers. These early industrial ventureshave moved over  to businesses involved in high-tech manufacturing, international trading anddistribution, forming strong ties with a host of blue chip  multinational companies. In recent yearsTranscom has emerged as an increasingly significant media house in Bangladesh. If transcomfollow our suggestions which we think is appropriate for them so they can improve  more fromtheir current  position.

Euthanasia in Ancient Socities essays

Euthanasia in Ancient Socities essays Life is a precious gift that should be cherished, preserved, and enhanced in every way possible. But when the potential for meaningful, joyful, desirable life has been exhausted and every effort made to prevent the inevitable, should we make it legally possible for the merciful to show mercy to those who request intervention to end their intolerable suffering. Euthanasia is the practice of mercifully ending a persons life in order to release the person from an incurable disease, intolerable suffering, or undignified death. The word euthanasia derives from the Greek word thanatos death and eu meaning easy it originally referred to intentional mercy killing. When medical advances made prolonging the lives of the dying or comatose patient possible the term euthanasia was also applied to a lack of action to prevent death. Euthanasia can be active or passive. Active euthanasia involves painlessly putting individuals to death for merciful reasons, as when a doctor administers a lethal dose of medication to a patient. Passive euthanasia involves not doing something to prevent death for example when a doctor refrains from using an artificial respirator to keep alive a terminally ill patient. Euthanasia can also be voluntary or involuntary. Voluntary euthanasia is when a person asks to die. In voluntary euthanasia refers to ending the life of a person who is not mentally competent to make an informal request to die, such as a comatose patient. Various groups or societies through out history have accepted euthanasia in various forms. In ancient Greece and Rome euthanasia was considered permissible in some situations. For example in the Greek city of Sparta newborns with severe birth defects were put to death. Voluntary euthanasia for the elderly was approved as custom for the elderly in some ancient societies. However as Christianity developed, euthanasia became morally and ethically abhorrent and was...