Colonization the Area in Florida by the Spanish Article

Colonization the Area in Florida by the Spanish - Article Example The Spanish colonized the area in Florida and were at war with Protestant England. They brought black African slaves to work in the dangerous areas of swampland where diseases abounded to which the Africans had an immunity. They were especially useful on the sugar plantations in the Caribbean. When Sir Walter Raleigh cam into the Carolinas, he went first through Florida and destroyed the settlements and free the slaves This situation did not stop British North Americans from using slaves. Most of them came here with no skills for survival and needed to have things done for them. At first, the slaves were indentured servants, brought for a price which they worked off. When their term was up, usually 7 years, they were given a small plot of land and supplies to get started. The early settlers did not even identify themselves by color at all. The most important divisions were social, religious and economic. Because of the development of rice as a cash crop, slave labor was becoming quite attractive. Runaway white servants usually had a year or two added to their time, but blacks often became lifelong slaves for the same offense. Eventually, plantation owners began buying slaves to work their land. With the invention of the cotton gin, slavery was an economic boon to the southern states, and they were loathed to give it up. So the abolition of slavery was removed from the agenda of the Continental Cong ress after the War of Independence was won. Congress lacked the power to abolish slavery. In fact, even though a number of the Northern delegates disliked slavery, no one at the convention suggested that Congress be empowered to abolish it. (Black 42) In addition, numerous other laws were made in different states to control the slave trade and the slaves.  

Why did World War II END the way it did Research Paper

Why did World War II END the way it did - Research Paper Example Why did World War II END the way it did? On August 6th, 1945, the world witnessed one of the rarest occasions in the history of warfare when the United States plunged an atomic bomb in the Japanese city of Hiroshima. With the number of casualties rising beyond 80,000, a second bomb was dropped on 9th the same month on the city of Nagasaki, claiming the deaths of more than 50,000 people. On the orders of the American president Harry Truman, the Japanese cities were destroyed by the only nuclear attack that has ever been recorded. The days following the attack witnessed massive deaths of nearly 100,000 people who were casualties of the bomb and it was clear that the poisoning had a horrendous effect on the country. Three years before the attack, the best scientists in the United States had embarked on building the bomb. Most of them derived from the Manhattan project, close to 100,000 scientists were involved in this development, making it the greatest scientific venture in history. It is plausible to note that the project involved more than 30 installations and the best university laboratories in the United States. Notable were the efforts of Nobel award winners like Harold Urey, who provided technical support and the whole project was overseen by the Army Chief engineer, Brigadier Groves. The initial stages of the projects were pursued in separate locations to maintain discretion of the whole project, and they were unaware of the magnitude of the undertaking they were part of.

Managing Multi-Agency Working in Elderly Care

Managing Multi-Agency Working in Elderly Care Managing Collaboration Multi-Agency Working for older people’s services Executive summary and introduction Collaboration in the field of both welfare and healthcare, on one level, can be expedient, efficient and economical. On another, more practical level, it can be a minefield of legislative, practical and interpersonal difficulties. (Arblaster. L. et al 1998) This report will consider these aspects in direct consideration of collaboration of the various aspects of care related to the elderly. It has to be viewed as being within the spirit and the legislative restriction of the NHS Plan (DOH 2000) and therefore considers the methods of collaboration with the PCTs in some detail, and also in the spirit and legislative requirements of the National Service Framework for the elderly. (Rouse et al 2001) What is collaboration between organisations? The transition from the concept â€Å"Empire† culture to the â€Å"Seamless interfaceâ€Å" culture is effectively based on the concept of practical and effective collaboration. (Powell, J. Lovelock, R. 1996) The changes that were proposed in a number of recent pieces of welfare based legislation (after the 1993 changes in the community care organisation and the National Service Frameworks to quote just two), have all espoused collaboration as their raison d’à ªtre. Clearly, in consideration of the elderly, there are numerous organisations that can potentially collaborate (Appendix Two), and all have their strengths, weaknesses and pitfalls. Let us examine one important area as an illustration. If we consider the welfare/health service interface. Primary healthcare teams control access to secondary and community health services through patient referrals. Social Services equally manage funding for home care and residential services including nursing home facilities and control access through assessment and care management. (Glendenning C et al 1998). When it is the case that, in terms of professional organisations, one depends upon another for access to services, their ability to obtain their own organisational or professional objectives can be severely compromised. (Haralambos M et al 2000). In practical terms, the GP is dependent on the social services to fund the appropriate facility whether it is a nursing home, domicillary enhancement services to keep a patient out of an acute medical hospital bed, or other forms of social support to facilitate the timely discharge of a patient from hospital. The arguments for collaboration are so overwhelmingly obvious that they hardly need repeating here. In real terms, the consideration of collaboration between organisations more analytically hinges on the question, â€Å"which organisations?†. The example that we have given is a fairly common collaboration and is therefore enshrined in both common working practice and also with legislative and regulatory boundaries. The advent of the National Service Frameworks have helped promote commonly recognised goals and objectives across the health/welfare spectrum of care, although a number of financial issues and problems with the organisational culture interface can commonly difficulty in everyday practice (Wierzbicki Reynolds 2001). Other organisations have to liaise and collaborate with the Social Services Dept. such as local and national voluntary support groups and specialist interest support groups, (often disease process based,) and these generally have much looser procedural issues and practices which may need different considerations. We shall discuss these in greater depth elsewhere in this essay. What are the problems? Taking a broad overview of the scope and possible nature of collaborative enterprises. Problems can arise from a number of organisational areas. Financial considerations, especially financial accountability, cause problems when this eventuality has not specifically been legislated for. Appendix Three sets out many of the potential pitfalls in this area. We observe that the health based services are essentially free to the patient whereas Welfare is largely means tested and thereby rendered vulnerable to changes of political direction and pressure. (Audit commission 2004) Another major area of potential difficulty stems from the historical development of professional language, terminology and working practices that each collaboration can interface. Client, patient , in need, deserving, dependent – all are terms frequently used by various healthcare professionals, but with different interpretations and nuances of meaning. Collaboration will inevitably require a more exact and specific vocabulary to be evolved and agreed. (Garlick C 1996). Collaboration inevitably means information sharing. The â€Å"Empire† concepts and constructs take a long time to die and be eradicated, but the seamless interface can only realistically be expected to work if all available information is shared. This raises serious problems of confidentiality if information is expected to be shared between healthcare professionals and collaborating agencies from the voluntary sector for example. (Cameron,A et al 2000). What are the solutions? Management solutions can be both complex and difficult to introduce or impose. By virtue of the potentially disparate nature of the collaborative partnerships that we are considering, there is clearly no â€Å"one size fits all† solution. It is for this reason that general principles are more useful than specific suggestions. The management of change (and therefore the solutions) is perhaps the most fundamental element in the discussion. Visions, ideas and directions are of little value if they cannot be translated into reality. (Bennis et al 1999). We can turn to the writings of Marinker (1997) who points to the fact that systems change, and indeed change management itself, are responsive to the acceptance of a division between concordance and compliance. People generally respond better to suggestion, reason and coercion rather than imposition of regulations and arbitrary change. The models that rely on publication and dissemination of information are generally more likely to be well received and more fully implemented, particularly if it is peer driven. (Shortell SM et al 1998) This is perfectly illustrated by the Davidmann Report (Davidmann 1988) on the debacle of the introduction of the Griffiths Reforms in the 80s. (Griffiths Report 1983). His major findings were that the Reforms failed because changes were imposed rather than managed Collaborative solutions should only realistically be made after a careful consideration of the evidence base underpinning that proposed change. (Berwick D 2005). Modern management theory calls for appropriate evaluation of the need for collaborative proposals by considering the evidence base on which the situation could be improved, its implementation by making managers aware of the need for change and proactively encouraging them in the means of implementation, and then instituting a review process to evaluate the effectiveness of the measures when they have been in place. (Berwick D. 1996) (Appendix five) Models of Collaboration There are a great many models of professional collaboration cited in the literature. In order to make an illustrated analysis, we will return to the specific example of the Health/welfare interface to consider some of the models in that area. In general terms, all of the models follow the functional structure Plan, Implement and Review (expanded in Appendix Five). The Outreach (or Outposting) model appears to be a commonly adopted model (McNally D et al. 1996), whereby a social worker is attached to a primary healthcare team. In terms of our analytical assessment here we should note that such arrangements, if subjected to process evaluation, generally promote progression towards a seamless interface in areas such as: The sharing of information and in mutual understanding of the different professional roles, responsibilities, and organisational frameworks within which social and primary health services are delivered. It is also noted that such benefits are generally greater if the implementation of such models is preceded by exercises including team building or joint training exercises. (Pithouse A et al 1996) Other models include the Joint Needs Assessments model in which service commissioning between primary health and social services teams have a common assessment base (Wistow G et al. 1998). This does not appear to have been as successful as the outreach model, and has had a rather variable history (Booth T 1999). Collaboration here has involved a variable number of agencies but not always the primary healthcare teams. The new primary care groups will have a strategic role in the commissioning of a broad range of health and welfare services. All NHS organisations have a clear imposed duty of collaboration and partnership with the local authorities (NHSE 1997) Collaboration in the form of joint commissioning models have also been tried. They tend to fall into one of three patterns including Area or locality as basis for joint commissioning Joint commissioning at practice level Joint commissioning at patient level None have been in place for long enough for a realistic assessment of their relative strengths and weaknesses to be evaluated yet. (Glendenning C et al 1998) Models- Interprofessional/teams One of the more successful models of collaboration is that of the multidisciplinary pre-discharge assessment team which, when it works well, can be considered a model of good collaborative working (Richards et al 1998). This requires all of the elements referred to above to be successfully implemented and to be in place if the optimum result for the client is to be obtained. Such a model calls for professional integration and collaboration of the highest order if National Service Framework Standard Two is to be fully realised. The framework calls for all concerned professionals to: Ensure that older people are treated as individuals and that they receive appropriate and timely packages of care which meet their needs as individuals, regardless of health and social services boundaries. It is, in our estimation, the crossing of these boundaries that, perhaps, is the key to collaboration. Review Collaboration as a concept is comparatively easy to define. Any dictionary will give a reasonable definition. As a workable model of practice, it is far more nebulous and hard to achieve. In this review we have tried to consider the barriers and management problems that make it harder to achieve together with the mechanisms which will militate towards successful implementation. We have identified financial and cultural barriers, as well as structural and organisational ones equally we have pointed towards models of collaboration which appear to be working well. It would appear to be the case that the prime factor in the success or ultimate failure of a collaborative exercise, is the success and management skills with which it is initially introduced.   References Arblaster. L. et al (1998) Achieving the impossible : interagency collaboration to address the housing, health and social care needs of people able to live in ordinary housing: Bristol Policy press and Joseph Rowntree. 1998 Audit commission (2004) Older People – Independence and well-being: The challenge for public services London: The Audit Commission 2004 Bennis, Benne Chin (Eds.) 1999 The Planning of Change (2nd Edition).. Holt, Rinehart and Winston, New York: 1999. Berwick D. 1996 A primer on the improvement of systems. BMJ 1996; 312: 619-622 Berwick D 2005 Broadening the view of evidence-based medicine Qual. Saf. Health Care, Oct 2005; 14: 315 316. Booth T. 1999 Collaboration between health and social services; a case study of joint care planning. Policy Polit 1999; 19: 23-49. Cameron,A. Brown H and Eby,M.A. (2000) Factors Promoting and Obstacles Hindering Joint Working; School for Policy Studies, Bristol. 2000 Davidmann 1988 Reorganising the National Health Service: An Evaluation of the Griffiths Report HMSO : London 1988 DOH 2000 Department of Health (2000) The NHS Plan. A Plan for Investment. A Plan for Reform. Cm 4818. London: The Stationery Office Garlick C. 1996 Social solution. Nurs Times 1996; 92: 28. Glendenning C. Rummery K, Clarke R 1998 From collaboration to commissioning: developing relationships between primary health and social services BMJ 1998;317:122-125 Griffiths Report 1983 NHS Management Inquiry Report DHSS, 1983 Oct 25 Haralambos M, M Holborn 2000 Sociology: themes and perspectives, Harper Collins 2000. Marinker M.1997 From compliance to concordance: achieving shared goals BMJ 1997;314:747–8. McNally D Mercer N. 1996 Social workers attached to practices. Project report. Knowsley: Knowsley Metropolitan Borough and St Helens and Knowsley Health , 1996. NHSE 1997 National Health Service Executive. Health action zones invitation to bid. Leeds: NHS Executive , 1997(EL(97)65.) Pithouse A, Butler I. 1994 Social work attachment in a group practice; a case study in success? Res Policy Plann 1994; 12: 16-20. Powell, J. and Lovelock, R. (1996), Reason and commitment: is communication possible in contested areas of social work theory and practice?, in Ford, P. and Hayes, P. (eds), Educating for Social Work: Arguments for Optimism, Aldershot, Avebury, pp. 76–94. Richards, Joanna Coast, David J Gunnell, Tim J Peters, John Pounsford, and Mary-Anne Darlow 1998 Randomised controlled trial comparing effectiveness and acceptability of an early discharge, hospital at home scheme with acute hospital care BMJ, Jun 1998; 316: 1796 – 1801 Rouse, Jolley, and Read 2001 National service frameworks BMJ, Dec 2001; 323: 1429. Shortell SM, Bennett CL, Byck GR. 1998 Assessing the impact of continuous quality improvement on clinical practice: what will it take to accelerate progress? Milbank Quarterly 1998; 76: 593-624 Wierzbicki and Reynolds 2001 National service frameworks financial implications are huge BMJ, Sep 2001; 321: 705. Wistow G, Brookes T, eds.1998 Joint planning and joint management. , London: Royal Institute for Public Affairs, 1998. ############################################################ 25.1.06 PDG Word count 2,290

The French Revolution Essay -- European History

The French Revolution The French Revolution was one of the most traumatic events in human history. Over seven million people may have died as a result. The immediate reason was the financial crisis caused by French support for the American Revolution. France invested 2 billion pieces of silver to win the war. Her tax system could only support the government during peace. A war called for extraordinary measures. This was the beginning of the first phase of the revolution, which is referred to as the Aristocratic Revolution. The aristocrats saw this crisis as an opportunity to reassert their power. The French Finance Minister, Necker (1776-1781) didn’t use new taxation to finance the war, he borrowed the money. In 1781, he published the Compte Rendu – which was the first budget the people of France had ever seen. It showed a budget surplus of ten million pieces of silver and Necker was hailed as a hero of the Enlightenment throughout Europe. His budget, however, was a fabrication. France was actually 80,000,000 pieces of silver in debt. When Calonne became finance minister in 1783, he found over half of France’s income went to pay the interest on the debt and the debt was increasing at the rate of 100,000,000 a year. Soon France would not be able to borrow any more money. She had to either repudiate the debt or find new taxes. Repudiating the debt was out of the question because governments have to be able to borrow money. They need to borrow to bridge the gap between the yearly arrival of tax revenues. The only course open was to find new taxation. The problem was who to tax? The peasants and artisans were already taxed to the limit. New taxes would have to be put on the aristocracy and the clergy. The Parlement registered new edicts and the nobility controlled it. The problem would be getting the taxes through the Parlement. Calonne called together an assembly of notables in 1787, hoping to gain momentum for reform. The notables refused to back the new taxes, because they didn’t believe there was a deficit. The notables believed Necker’s Compte Rendu. Calonne and Necker traded charges and insults and King Louis XVI fired Calonne. Louise XVI hired the head of the notables – Brienne – to be his new finance minister in 1787. Brienne reviewed the budget and realized that Calonne had been telling the truth, but when he presented his case to the notables, ... ...ear, not popular support. Executions continued to increase (258 in April of 1794, 345 in May, and 688 in June) and differences in the Committee became irreconcilable. On July 27, 1794 Robespierre was shouted down in the National Convention while giving a speech to answer attacks against his policies. Cries of "Down with the tyrant" were raised and Robespierre's arrest was decreed. Robespierre and his followers escaped, but were later captured. He and 19 of his followers were executed July 28, 1794. The frontispiece from this anti-Robespierre work, Almanach des Prisons, depicts the results of the Reign of Terror under Robespierre's leadership. The various stacks of heads are labeled as follows: "Clergy," "Parliment," "Nobles," "Constitution" (supporters of the Constitution), "Legislature," "Convention," and "People." Note that the largest stack is for the "People" or general public, rather than for the clergy or aristocracy, emphasizing one of the claims against Robespierre's regime. The figure on the scaffold is Robespierre guillotining himself! ________________________________________

How ICT can improve a business by speed and quality

In this project I am going to show how ICT can improve a business by speed and quality. I am going to show this by using a School's Sports Day as an example. When using ICT to create a booklet for this Sports Day it is improving the time taken to create it as it is much easier to make it by computer. If allows you to move pictures around so you can find the perfect position for them on the different pages. It also allows you print off as many copies as you want, rather than photocopying every page. It will not take as much time because you can insert any piece of information and you will be able to move things around to make everything be in its best position. For the Sports Day this year I will be creating an A5 programme. On the first page there will be the School's Crest along with two photographs of the school. The day and date of the event will also be on the first page. Two A4 sheets need to be produced and to be used as masters for the inside and outside of the programme. The output this Sports Day Programme will take would be in an A5 booklet. On the middle pages there will be a list of track events with the times. On the back page the will be a half- page advert of Helmcroft Hotel. A list of last year's record breakers will also be on that page. The information to be output would be the School's Crest, photographs of the school, an advertisement of Helmcroft Hall and photographs of the new sports hall. The data needed to be output would be record breaking list and the events. The data that would be needed for the programme as an output are as follows: * The events and times that they take place (excel). * Food cost during the day. * What time the actually starts and finishes. * Who's invited * The people who are running in the races. * Records of previous events. Testing is needed to make sure the data and the information is detailed, precise and specific on the document so that people can fully understand it thoroughly with ease. Although testing is not needed at this stage as you are only writing up information. Analysis for Task 2 For this task I will be using different programs for the different forms. The categories, records list and the list of beverages and food (and prices) would be produced in Excel. The entrance cost would be produced in PowerPoint so it can be created with lots of colours. The price of drinks to make a profit would be the information to be output. The data needed to produce the output would be the model on how many drinks are sold compared to the weather. I would like the best price to result in a profit. Design – Task 1 The problem that has to be solved is how to arrange the front and back page of the brochure for the school's Sports Day, and the software that might be useful to achieve this. I shall use Microsoft Word to solve this problem. This is because the functions of the features available on Microsoft Word are necessary for solving the problem. Firstly, to set about reaching the problem I will use the functions of Word to make titles and sub-titles bold, italic and using the appropriate font size. The reason for this is so they will stand out, allowing the readers to see them more easily as they would be more clearer and more alluring. Secondly, I will use boxes around the text to make them stand out clearer. The text boxes will also allow me to import, position and resize graphics a lot more easily. The boxes and their borders would have bright colours to make the programme less dull. Word also allows graphics (e.g. the Helmcroft Hall advert) to be kept in the same proportions. These graphics are very easy to import using ‘drag and drop'. Design – Task 2 For Design 1 of the spreadsheet I have shown the basic layout of the: * Fixed Incomes * Fixed Expenditures * Costs of drinks to buy * Costs of drinks to sell My design also shows a different layout to what I will be using to display the various weather conditions. For this design I have only shown COLD and COOL conditions, as the rest will follow in my own design. For my own design of the spreadsheet I will produce the spreadsheet in a horizontal way rather than the original design, provided by the teacher, which was shown vertically. To fit the whole spreadsheet I will make use Arial 10pt font for the main text, the main headline will be Comic Sans MS 18pt font. The sub headlines will be different fonts, two will be Showcard Gothic 14pt font and the others will be Tempus Sans ITC 12pt font. The total headings are produced in bold Arial Narrow 10pt font. The cells with the results of the formulae are formatted to be shown as currency. I varied the widths of the columns to allow the text to fit perfectly; in some parts I merged the cells. The formulae I used were simple, only addition and multiplication sums being used. For the spreadsheets I will produce I will use Microsoft Excel. The following table outlines the software features needed to produce my Price Pledge Model, and for each feature, the suitability of Excel has been examined. Excel has a simple-to-use replicate feature. I can select a cell (that contains text, a number or formulae), highlight a section to the right and copy the contents of the original cell into those selected to the right. It will automatically change the letter for the column being used as it's replicated across. Excel can carry out simple calculations.

Warhol: the Flatness of Fame

THANK YOU all for being here this brisk March afternoon. I’d like to thank the GRAM for the invitation to speak in conjunction with such a wonderful exhibition, and especially Jean Boot for all of her diligent coordination on my behalf. (There are 3 parts to my presentation. First, a virtual tutorial on the process of screen-printing; secondly, a discussion of the formal and conceptual potential inherent to printmaking, and the way in which Warhol expertly exploited that potential. Finally, I will conclude with an actual demonstration of screen-printing in the Museum’s basement studio. In coming weeks, you’ll have an opportunity to hear much more about the cultural-historical context for Andy Warhol’s work from two exceptional area scholars, beginning next Friday evening with a lecture by my colleague at GV, Dr. Kirsten Strom, and on _______ Susan Eberle of Kendall College of Art & Design. As Jean indicated in her introduction, I teach drawing and printmak ing at GVSU. In other words, I’m approaching Warhol’s work very much as a studio artist. As a printmaker in particular, I’m predisposed to note the large degree (great extent? to which the innate characteristics of the medium – in this case screen-printing – enable and inform the meaning of Warhol’s work. At the outset of each printmaking course I teach at Grand Valley, I provide students a brief overview of the social history of the print; I divulge its rich heritage in the service of dispensing and preserving our (collected cultural discourse, from†¦) verbal and pictorial languages, knowledge and history, cultural discourse, from ancient scripture to textile design to political critique. In addition I cite the formal qualities specific to the print – multiplicity, mutability, and its recombinant capabilities. I open with this background as a means of framing the work students will produce in the course. I’d like to provide a similar overview here, as a means of framing the work of Warhol, which is so richly informed by the native characteristics of his processes. As the expression goes: the medium is the message; form and content are inseparable. First I offer a brief tutorial on the process of screen-print, in the hopes of providing a bit of context and a richer appreciation for the images/discussion to follow. â€Å"With silk-screening, you pick a photograph, blow it up, transfer it in glue onto silk, and then roll ink across so that the ink goes through the silk but not through the glue. †) The Imagery Warhol screen-printed images onto canvas in the early 1960s, and he began simultaneously to translate this technique to printing on paper. His subjects related directly to his paintings of the same period: James Cagney, the Race Riots, and Ambulance Disasters. These works on paper were printed in monochromatic tones and screened in a method that retained the graininess and immediacy of the mass media images on which they were based. Warhol considered these works to be unique drawings. Changes in the ink saturation and/or in the composition during the printing process created variations in each work. Screen-printing was ideally suited to Warhol in two distinct ways: First – technically, it allows him to harvest images from a vast bounty of sources. Secondly – he fittingly adapted a â€Å"low culture†, commercial process for the production of images chronicling life in celebrity-crazed, consumer-driven, Post-War America. One of the well-known strategies of Pop Artists – Warhol and Lichtenstein, among them – was their appropriation of the visual characteristics of mechanical reproduction (which you can see clearly here in Lichtenstein’s Ben Day dots pattern. Warhol went further than borrowing the language, employing the means of commercial printing itself. As of the 1930s, screen-printing was a widely-practiced process for the printing of posters, t-shirts, and other graphics in the US. In other words, Warhol chose this medium for its associations with the culture of advertising and shopping/consumerism. I want everybody to think alike. Russia is doing it under government. It’s happening here all by itself. I don’t think art should be only for the select few. I think it should be for the mass of American people. † But how exactly does one represent â€Å"the mass of American people†? Through it’s proxies: (A) Through the objects of its consumption : Campbell’s cans, Coke bottles, Brillo pads and Mobil Gas (B) Through the media icons it reveres, and (C) Through the images of anonymous tragic figures Disaster and death were not his primary concerns, but rather the anonymous victims of history – the masses. D and D evoke this mass subject, for in a society of spectacle this subject often appears only in stories and images of mass death. â€Å"I want to be a machine†: The History of the Print as a means/tool for social and political critique) Although screen-printing as Warhol practiced it is primarily a 20th century advent, the tradition of the print as a vehicle for disseminating ideas and information (as the vox populi) is centuries old. Among the earliest surviving printed artifacts in Western civilization are these two contradictory images: a Holy Picture on the left, and playing cards on the right. Each dates from the mid-15th century, each is the product of the same â€Å"technological innovation†, the wood block (and in the eyes of the Catholic church, working at cross purposes with one another! ) Many of the most widely reproduced and well-known prints in the Western world are images of cultural unrest and political and social critique. These are a few examples: Francisco Goya, 18th C Spanish printmaker William Hogarth, 18th C English printmaker Honore Daumier, 19th C French printmaker Kathe Kollwitz, early 20th C German printmaker Jose Guadalupe Posada, late 19th C Mexican printmaker â€Å"All of what I have to say is right there on the surface – Remarks such as this one are at times misconstrued as superficiality – a dismissal of content – suggesting to some that Warhol’s choice of imagery was indiscriminate. Especially today, Warhol is often mischaracterized through his studied, stoic affect – as an artist who felt nothing more for his work than for the contents of his local grocery store. I would argue that Warhol’s imagery is anything but indiscriminate, and is instead engaged in the popular tradition/rich heritage of the print as a means of social and political critique, especially obvious in the years between 1962 and 1980, from the â€Å"Death and Dying† series to the â€Å"Endangered Species† series. (Over this prolific period, Warhol’s ouvre included references to the Civil Rights movement, the death penalty, and of course the Cold War. Even the artists’ early celebrity portraits are shrouded with both private and public tragedy: Marilyn, Elvis, Liz Taylor, JFK and Jackie O†¦ ) To me, Warhol’s deadpan cynicism has always seemed a calculated critique of the turbulent social and political climate. It’s an ironic persona reflected in his works – an expression of apathy intended to induce the appropriate response from his viewers: shock and bewilderment that any artist, could produce images of graphic violence and human trauma with such apparent passivity. Multiplicity – The first of three formal qualities innate to printmaking â€Å"I like boring things. † â€Å"I don’t want it to be essentially the same – I want it to be exactly the same. Because the more you look at the same exact thing, the more the meaning goes away and the better and emptier you feel. † Such statements suggest a strategic, pre-emptive embrace of the very compulsive repetition that a consumerist society demands of us all. If you can’t beat it, Warhol implies, join it. More: if you enter it totally, you might expose it; you might reveal its enforced automatism through your own excessive example. These remarks reposition the role of repetition in Warhol. Here repetition is both a draining of significance and a defending against effect. This is one function of repetition in our psychic lives: we recall traumatic events in order to place them into a psychic economy. Yet the Warhol repetitions are not restorative in this way; they are not about a neutralization of trauma, for his repetitions not only reproduce traumatic effects, but sometimes produce them as well. Repetition in Warhol is neither a simple representation of the world nor a superficial image. His repetition serves to filter traumatic reality, but it does so in a way that points to this reality nonetheless. Ultimately I would suggest that Warhol’s use of the multiple functions as a form of potent cultural critique, whether it emphasizes the horror, or whether it desensitizes us to the violence in many of his images. Mutability – (â€Å"With silk-screening, you pick a photograph, blow it up, transfer it in glue onto silk, and then roll ink across so that the ink goes through the silk but not through the glue. That way you get the same image, slightly different each time. It was all so simple – quick and chancy. I was thrilled with it. †) The screen-printing technique affords artists the latitude for simple yet dramatic changes, from impression to impression. With little trouble, one can shift color, and even scale. The image can be altered through adjustments to the matrix (or stencil, in this case), or during the printing process itself, through the irregular application of ink. When I originally conceived of this talk, I intended to speak primarily to this one formal aspect of Warhol’s prints: his exploitation of the process to produce deliberate imperfections that (reflect the true disposition of his subjects) (inform the meaning behind his images. ) (further enable the content of his work. ) contribute to the flatness of his subjects – thus emphasizing their artificiality. Purposefully crude printing and mis-registration disrupt the pictorial illusion, drawing attention to the flatness of each image that, in a metaphorical sense, speaks to the nature of fame. Warhol’s arbitrary colors suggest the un-reality and artifice of each subject. These aren’t real people, but products, and you can have them anyway you want them. We construct reality the way we desire it to be – the lips are larger, more red, the hair is more golden; they remain young and beautiful forever. Marilyn image that disintegrates and fades out. Elvis that overlaps. – (silver screen/motion Recombinant Potential – The screenprint is among the most versatile of print techniques in regards to substrate. In other words, one can print on a diverse array of surfaces, including paper, wood, glass, plastics, textiles. The exhibition here at the GRAM demonstrates Warhol’s affinity for the aesthetic of the print on canvas – a practice that effectively elevated screen-print – a low-art technology of commerce – to the privileged status of painting. Their visual translation into the language of screen-printing homogenizes every subject; the queen, a skull, a shoe, a can, Marilyn, all become part of the same glossy, colorful language. In addition to one’s ability to print on a wide spectrum of surfaces, screen-printing allows an image to be â€Å"saved† (one may simply store and re-use the stencil or matrix in a later situation. Thus we see Warhol’s â€Å"vocabulary† (lexicon? ) of celebrities and other iconic images juxtaposed in shifting circumstances – being exercised in a language of signs. These (printed signs) juxtapositions can homogenize even the most horrific of images, emphasizing our mediated relationship to the trauma depicted. T his homogenization leaves space for interpretation – it can be argued that Warhol has intentionally treated the car crash and the Campbell soup as equal – not as references to the actual world. Alternately, it might be argued that the images are intended to shock a complacent consumer culture back to reality through conspicuously violent juxtapositions. By positioning such horrorific images in the proximity of the celebrity portrait, in the â€Å"low art† language of the advertisement, Warhol critiques a consumer culture lulled into apathy since the War by the numbing effects of Television, advertising, glossy celebrity tabloids, and the veritable glut of shiny new objects available for purchase on every store shelf. I’d like to congratulate the GRAM on a wonderful exhibit. Curator Richard Axsiom has done a marvelous job of pulling together a broad spectrum of Warhol’s strongest/most resonant images†¦and I’d like to invite you all downstairs/to the museum’s studio for screen-printing demonstration. THE IMAGERY: Celebrities or anonymous – these are images to represent the â€Å"masses†. Art should be for the pubic, but how do you represent the â€Å"public body†? – through the icons they look to, or the anonymous Marilyn image that disintegrates and fades out. Elvis that overlaps. – (silver screen/motion Warhol’s remark that all of what he has to say is right there on the surface is misinterpreted as mistaken as superficiality – a dismissal of content – argued that it supports indiscriminate images and passivity. I would argue that Warhol’s imagery is anything but indiscriminate, and is engaged in the long history of the print as a means of social critique. I want everybody to think alike. Russia is doing under government. It’s happening here all by itself. I don’t think art should be only for the select few. I think it should be for the mass of American people. How does one represent â€Å"the mass of American people†? Through it’s proxies, through its object of consumption, soup cans, Coke bottles. Media icons stand it for the body of the masses. Disaster and death were not his primary concerns, but rather the anonymous victims of history – the masses. D and D evoke this mass subject, for in a society of spectacle this subject often appears only in stories and images of mass death. Celebrity and anonymity represent the mass subject. Enter into/immerse himself in the language of pop culture. With silk-screening, you pick a photograph, blow it up, transfer it in glue onto silk, and then roll ink across so that the ink goes through the silk but not through the glue. That way you get the same image, slightly different each time. It was all so simple – quick and chancy. I was thrilled with it. † Warhol hand-printed unique silkscreen images on canvas in the e arly 1960s, and he began simultaneously to translate this technique to printing on paper. He experiments with subjects that directly relate to his paintings of the same period, as in Cagney, Race Riot, and the Ambulance Disaster. These works on paper were printed in monochromatic tones and screened in a method that retained the graininess and immediacy of the mass media images on which they were based. Warhol considered these works to be unique drawings. Changes in the ink saturation and/or in the composition during the printing process created variations in each work. Popular impressions of Pop reduced to candy – it was almost too effective in its critique, ceased to function as a critique – irony and sardonic qualities become eye candy only – another commodified visual confection. The profound flatness of images such as the soup cans – these images exaggerate the lack of roundness – these are cylindrical objects – void of their substance/their mass. Warhol Prints Not to overlook the obvious Flatness Repetition Imperfection Juxtaposition The multiple, mutable, recombinant image – Warhol’s prints are responding/exploiting each of the inherent potentials of the print. Reality as a mediated phenomenon is the subject of Warhol. Private fantasy and public reality is a primary concern of Warhol’s brand of Pop.

Animal Rights Quotes by Alice Walker and Others

Animal Rights Quotes by Alice Walker and Others Supporters of the animal rights movement and their opponents often use quotes to bolster their arguments. Unfortunately, some of these quotes are taken out of context, misattributed, or otherwise incorrectly used. Famous quotes about animal rights, from Paul McCartney to the Bible, are explored and explained here. Alice Walker One quote taken out of context is attributed to writer Alice Walker. Its a beautiful quote clearly about animal rights: The animals of the world exist for their own reasons. They were not made for humans any more than black people were made for whites or women for men. Its one of the most famous quotes bandied about in the animal rights movement. The fact that it is attributed to the Pulitzer Prize-winning author of The Color Purple, a book that inspired a  movie by the same name, as well as a Broadway musical, makes it all the more credible and poignant. The problem is the quote is taken out of context, and Walker wasnt expressing her own views. The source of the quote is Walkers preface to Marjorie Spiegels 1988 book, The Dreaded Comparison. In fact, the very next sentence is This is the gist of Ms. Spiegels cogent, humane and astute argument, and it is sound. So Walker was simply summarizing someone elses views, not her own. Its easy to see how something like this spreads. Its a great sentiment, coming from a Pulitzer Prize-winning author. And technically, Alice Walker did write it. Adolf Hitler Critics of the animal rights movement, and specifically the aspect of it that involves vegetarianism, are quick to point out that Adolf Hitler was a vegetarian. Buzz such as this is a phenomenon of the internet age where misinformation spreads like wildfire if said information furthers one’s agenda. This rumor allegedly started because in his article in Psychology Today writer Hal Hertzog  reported that Hitler was overheard telling a female companion who ordered sausage while they were on a date: â€Å"I didn’t think you wanted to devour a dead corpse†¦the flesh of dead animals. Cadavers!† Subsequent inquiry and research have proven that Hitler was not a vegetarian, a fact clearly indicated in a 1964 Gourmet Cooking School  Cookbook written by Dione Lucas, who spoke openly about Herr Hitler’s favorite meat dishes. So much for anti-animal rights people trying to demonstrate a link between vegetarians and the world’s most evil bastard. Other Quotes About Animal Rights Paul McCartney was a vegan who famously and openly discussed his vegan lifestyle. He actually did say: â€Å"You can judge a mans true character by the way he treats his fellow animals.† Paul and his late wife Linda McCartney were both proponents of animal rights. Linda wrote in her book Lindas Kitchen: Simple and Inspiring Recipes for Meals Without Meat wrote: â€Å"If slaughterhouses had glass walls, the whole world would be vegetarian.†Ã‚   Writer Ralph Waldo Emerson also spoke of slaughterhouses, saying: â€Å"You have just dined, and however scrupulously the slaughterhouse is concealed in the graceful distance of miles, there is complicity.†Ã‚   Other quotes about animals and vegetarianism have been borrowed from other social movements. The context of these quotes is not directly related to animal rights, but the message is applied to the argument in favor of animal rights. Dr. Martin Luther King said: â€Å"Lifes most persistent and urgent question is, What are you doing for others?† There are other quotes related to social movements that are attributed to Dr. King and used for animal rights. This includes: Our lives begin to end the day we become silent about things that matter. Animal rights critics are also famous for citing biblical references to support their claim that people are supposed to use animals any way they desire, including eating them. This often used argument stems from Genesis 1:26-28:   Let us make  man  in Our image, according to Our likeness; and ...let them have  dominion over  the fish of the sea, and over the fowl of the air.   Some theologians have suggested that the word â€Å"dominion† was translated incorrectly and should actually be â€Å"stewardship.† Though Susan B. Anthony  likely was not responding to the use of the Bible to oppose animal rights, she did say: â€Å"I distrust those people who know so well what God wants them to do, because I notice it always coincides with their own desires.†Ã‚   While there is no evidence to support the idea that King or Anthony were vegetarians, their words are universal. Is there any harm in commissioning their moving words to inspire a kinder world? -Edited and updated by Michelle A. Rivera