Climate Change is a Minor Threat Essay - 647 Words

Predicting climate change is less accurate than firing a pistol at long range. The fact is, finding a forecast of our future is just as difficult as explaining the meaning of life. I mean, how can we predict the future climate when meteorologists can’t even predict today’s weather? Scientists have only been keeping exact records of the earth’s surface temperature for only just over a hundred years.# Before accurate readings of the earth had been taken, scientists have only viewed charts and graphs of recent years. Patterns have been formed from these short-term graphs. But how can scientists be sure that their trend is true? What proof do we have anyway? The media-crazed threat of global warming has made this topic a very popular†¦show more content†¦First of all, the sea has been rising for centuries, long before primates even entered the human state. The rise has been steady for over 18,000 years (in that time, the sea rose 400 feet). Now, the sea continues to rise steadily at eight-inches a century.# To verify against the melting of certain glaciers in the Arctic and in Greenland, reports show that the warmest years in the Arctic were around the 1940’s. At that time the temperature dropped, only to rise up again to the present.# This number, however, is still lower than the average temperature in the 1940’s. Another study shows that, in fact, Antarctica, a continent made of ice, is actually growing in size, and not melting.# The main reason for concern is the emission of Carbon Dioxide into the atmosphere. This can happen in many ways since CO2 is produced by any living organism through respiration, burning of organic matter, or the eruption of volcanoes. If you think about how much CO2 that would be, it’s a lot. However, our atmosphere is only made up of 0.04% Carbon Dioxide. Not even half a percent of CO2 is above us, even though almost every living organism produces it in one way or another. The CO2 is a common type of gas known as a greenhouse gas. A gas that traps in the heat from the sun, causing a warmer surface temperature. In the last century, earths average temperatureShow MoreRelatedClimate Changes And Climate Change Essay1691 Words   |  7 Pages Climate is average patterns of temperature, precipitation, humidity, wind and seasons. Climate patterns play a significant role in shaping natural ecosystems, and human economies that depends on them. But the climate we have come to expect is not what it used to be. We know this from plenty of observation, documented in hundreds of journal papers and scientific research which has shown many evidence for rapid climate change. Climate change, refers to the rise in average surface temperature andRead MoreThe Cold War Period ( 1945-1991 )1359 Words   |  6 Pagesthe international community has faced a plethora of challenges, none greater than the current, and rapidly growing threat of climate change. 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The Annual Changes Of Temperature On A Planet - 1021 Words

The annual changes of temperature on a planet, also known as seasons, are caused by two distinct factors: the planet’s axial tilt and its variable distance from the sun, also called orbital eccentricity. The temperature on a singular point on a planet is determined by the amount of sun that falls on that particular location. If a planet does not contain an axis tilt, then the temperatures would be highest along the equator, where light from the sun falls directly, and coldest at the north and south pole, where the light of the sun almost never touches. This would stay constant year round and never vary. However, when a planet does contain an axis tilt, the angle in which the light from the sun falls on any given point on the planet will†¦show more content†¦This seemingly small number, is actually quite large, and that variation, in combination with the planet’s axis tilt, is the cause of much more extreme seasons that what we see on our own planet, Earth. On E arth, the seasons are divided into near equal lengths of approximately three months for each season. This is caused by two factors: Earth’s circular orbit and that fact that Earth moves at a relatively constant speed as it orbits the sun. The same cannot be said for Mars. The high eccentricity of Mars’ orbit also changes the speed of which it orbits around the sun. When Mars orbits slowest when it is at aphelion and fastest at perihelion. This change is speed makes some of Mars’ seasons longer than others. Spring is considered the longest season, lasting approximately 194 Martian days, whereas autumn is the shortest season, lasting approximately 142 Martian days. These extreme seasons of Mars can have some very interesting effects on the planet. Research has shown that global atmospheric pressure is 25% lower during the local wintertime than during summer. This happens for two reasons: first, the eccentricity of Mars s orbit and secondly, there is a pattern-lik e exchange of carbon dioxide between the north and south polar caps and the mostly CO2 atmosphere. When the north pole is tilted away from the sun around the winter solstice, the northern polar cap expands as the carbon dioxide within the atmosphere freezes. On the opposite side of the

Picasso Final Paper Free Essays

string(70) " the shock waves reverbetrated and the inevitable outcome was Cubism\." Final Paper William Kidwell ART101: Art Appreciation Instructor: Patricia Venecia-Tobin October 8, 2012 Evaluate Pablo Picasso’s Demoiselles d’Avignon. How did this work reshape the art of the early 20th century? Pablo Picasso’s painting Les Demoiselles d’Avignon is a wonderful piece of art, and the style in which the picture is painted is very typical of Picasso. The artist completed the picture in the beginning of the previous century, in 1907, and used oil on canvas. We will write a custom essay sample on Picasso Final Paper or any similar topic only for you Order Now Generally, Pablo Picasso is famous for unnaturally distorted figures in his paintings of that year, and Les Demoiselles d’Avignon is a great example. The picture is now hanging in the Museum of Modern Art in New York. Pablo Picasso hated discussing his art, yet once he spoke frankly about â€Å"Les Demoiselles d’Avignon,† his greatest painting and a touchstone of 20th-century art that is 100 years old this summer. On this occasion, Picasso did not address the subjects that transfix art historians — the origin of Cubism, the supplanting of old avant- gardes, and the impact of non-Western art. He cut through academic dissertations to offer one of his most heartfelt admissions about why he made art. He spoke of artworks as â€Å"weapons . . . gainst everything . . . against unknown, threatening spirits,† and he affirmed that â€Å"‘Les Demoiselles d’Avignon’ . . . was my first exorcism painting — yes absolutely! † His encounters also return us to the idea of art as â€Å"exorcism. † When Picasso spoke about art being a weapon, he was specifically describing African â€Å"fetishes. † He called them defensive weapons: â€Å"They’re tools. If we give spirits a form, we become independent. † In this sense, the splintered spaces and awesome creatures of â€Å"Les Demoiselles† vividly embody looming malevolent and seductive forces — and stop them in their tracks. Picasso’s painting pushes us to the edge of primal confrontation. It projects human savagery only to trap it in the painted crust. [Jacques Doucet] failed to offer the painting to the Louvre, and a few years after his death the 10-year-old Museum of Modern Art acquired not only a masterpiece but international stature as the leading museum of contemporary art when it purchased the painting in 1939. Since that date, â€Å"Les Demoiselles† has been almost continuously on public view (a current exhibition at the Museum of Modern Art, â€Å"Picasso’s Demoiselles d’Avignon at 100,† is up through Aug. 7 and displays the painting with 11 related works). Yet only in the past few years have we had the chance to see it almost as it looked when it left Picasso’s studio in 1924. In 2003-04, MoMA undertook a full-scale conservation effort and stripped the picture of layers of varnish that someone other than Picasso had applied. For generations, the varnish masked the physical texture and mass of Picasso’s brushwork under an anodyne sheen. Now we see the painting the way Picasso left it — a raw, intensely fractured skin of ideas. ( Fitzgerald, M. (2007, Jul 21). PURSUITS; leisure amp; arts — masterpiece: His unladylike young ladies; in 1907, picasso’s ‘les demoiselles’ shattered convention. Wall Street Journal. Retrieved from http://search. proquest. com/docview/398999057? accountid=32521) [Pablo Picasso] worked on Les Demoiselles d’Avignon as he had never worked on any painting before. One art historian has even claimed that the hundreds of paintings and drawings produced during its six- month gestation constitute â€Å"a quantity of preparatory work unique not only in Picasso’s career, but without parallel, for a single picture, in the entire history of art†. Certainly, it matches the work artists had traditionally put into history paintings and frescoes. Picasso knew he was doing something important, even revolutionary – but what? What struck Picasso about African masks was the most obvious thing: that they disguise you, turn you into something else – an animal, a demon, a god. Modernism is an art that wears a mask. It does not say what it means; it is not a window but a wall. Picasso picked his subject matter precisely because it was a cliche: he wanted to show that originality in art does not lie in arrative, or morality, but in formal invention. This is why it’s misguided to see Les Demoiselles d’Avignon as a painting â€Å"about† brothels, prostitutes or colonialism. The great, lamentable tragedy of 18th- and 19th-century art, compared with the brilliance of a Michelangelo, had been to lose sight of the act of creation. That’s what Picasso blasts away. Modernism in the arts meant exactly this victory of form over content. That doesn’t mean it is disconnected from the world. Les Demoiselles d’Avignon could not be more earthily, pungently affective – it is, after all, full of sex. It’s a sexuality that bears no resemblance to that of, say, Klimt. Although it emerges from the same decadent milieu, it does things no artist of the fin- de-siecle had contemplated. In this painting Picasso anticipates the discoveries he made explicit in his cubist pictures: he all but obliterates the 500-year-old western tradition of perspective by flattening his flesh silhouettes in a space that goes nowhere. It’s this visual violence that liberates his eroticism, because it erases any meaning or narrative. Such a tremendous unbinding of desire was unprecedented in art, not to mention Christian culture. After the first world war, Andre Breton came to Picasso’s studio, saw Les Demoiselles d’Avignon and recognised it as the definitive modern masterpiece. Breton, the leader of the surrealists, saw in it a painting about the revolutionary menace of the unconscious, and he was right. (Jones, J. (2007, Jan 09). G2: Arts: Pablos punks: It’s exactly a century since Picasso painted les demoiselles d’avignon. Jonathan Jones reveals why this explosion of sex, anarchy and violence gave birth to the whole of modern art. The Guardian. Retrieved from http://search. proquest. com/docview/246571101? accountid=32521) This painting was painted in 1907. It was called the most innovative painting since the work of Giotto, when Les Demoiselles d’Avignon first appeared it was as if the art world had collapsed. Known form and respresnetation were completely abandoned. The reductionism and contortion of space in the painiting was incredible, and dislocation of faces explosive. Like any revolution, the shock waves reverbetrated and the inevitable outcome was Cubism. You read "Picasso Final Paper" in category "Papers" This large work, which took nine months to complete, exposes the true genius and novelty of Picasso’s passion. Suddenly he found freedom of expression away from current and classical French influences and was able to carve his own path. Picasso created hundreds of sketches and studies in preparation for the final work. It was painted in Paris during the summer of 1907. Demoiselle was revolutionary and controversial, and led to anger and disagreement amongst his closest associates and friends. Picasso long acknowledged the importance of Spanish art and Iberian sculpture as influences on the painting. Demoiselle is believed by critics to be influenced by African tribal masks and the art of Oceania, although Picasso denied the connection; many art historians remain skeptical about his denials. Several experts maintain that, at the very least, Picasso visited the Musee d’Ethnographie du Trocadero in the spring of 1907 where he saw and was unconsciously influenced by African and Tribal art several months before completing Demoiselles. Some critics argue that the painting was a reaction to Henri Matisse’s Le bonheur de vivre and Blue Nude. Picasso drew each figure differently. The woman pulling the curtain on the far right has heavy paint application throughout. Her head is the most cubists of all five, featuring sharp geometric shapes. The cubist head of the crouching figure underwent at least two revisions from an Iberian figure to its current state. Much of the critical debate that has taken place over the years centers on attempting to account for this multiplicity of styles within the work. The dominant understanding for over five decades, espoused most notably by Alfred Barr, the first director of the Museum of Modern Art in New York City and organizer of major career retrospectives for the artist, has been that it can be interpreted as evidence of a transitional period in Picasso’s art, an effort to connect his earlier work to Cubism, the style he would help invent and develop over the next five or six years. Since the late 18th century, artists had been re-evaluating the Renaissance’s concept of pictorial space, created through the means of linear and atmospheric perspective, whereby a fixed spectator observed a cube of space in which the sense of depth was created by a geometric diminution of objects in scale and in clarity as, apparently, they receded into the distance.. For Picasso, this rendering of space was no longer valid because the â€Å"fixed spectator† no longer existed. Now the modern spectator had been transformed into someone who was in constant movement, forced to look at objects from several points of view. Picasso became obsessed with what he regarded as the anachronistic artistic rules governing the representation of three-dimensional form on a flat surface and with reconciling them with the new modern acceleration. Les Demoiselles d’Avignon represents a working out of this reconciliation. His solution was to paint five nude contorted women. Now let’s examine why he would portray them in such a manner. If we examine the seated woman to our right, you’ll notice that her face and arms are facing us but her torso, buttocks and extremities are turned away from us. In other words, Picasso lets us simultaneously glimpse at different aspects of this woman that a fixed viewer could not ordinarily do so. In other words, Picasso is trying to show us a composite of this woman from as many different points of view as possible so that we may experience her in her totality. Picasso does the very same thing to the woman standing to our left. If we examine her closely, we will notice that she is ambiguously portrayed. First of all, her face is depicted both laterally and frontally. She is posed like an ancient Egyptian form who looks to the side but whose eye looks directly to the front. Furthermore, if we inspect her body, we will discover something very odd. Her right side is depicted dorsally, whereas her left side is portrayed frontally. It’s as if Picasso has twisted her body so that we may get a glimpse of as many aspects of her as possible. In other words, Picasso wants to show us this woman in her entirety. In rendering the new reality, Picasso also abandons harmonious bodily proportions. This, of course, was done on purpose since Picasso had been trained at art school how to render the human figure through mathematical proportions. The woman located at the very center of the canvas is quite disproportionate, elongated as though she were a figure out of an El Greco painting. If we focus on her extremities, they seem to go on forever, as if her short-waisted torso was out of context with the rest of her body. And so it goes for the rest of the figures in the picture. Was there any precedent for doing such a thing? Picasso’s Les Demoiselles is homage to Paul Cezanne’s The Bathers. Not only do both works echo Cezanne’s dictum of â€Å"the cone, the cylinder, and the sphere,† but both paintings distort the human body. However, whereas Cezanne distorts the women in The Bathers in order to bring the viewer into the pictorial plane and to balance the figures and structures within the painting, Picasso does so for a different purpose. Picasso distorts each of these women to show who is in power—that he can take control and mangle them—and that, in the final analysis, they still threaten him as human beings. But this distortion and use of pure geometrical shapes are not the only elements that Picasso borrows from Cezanne’s work. Picasso limits his palette just as Cezanne does because both are concerned more with the rendering of form than with the use of color. To have used more colors than the blues, pinks, ochres, rusts, and grays that he employs would have been distracting. Furthermore, these colors are totally flat, as though to suggest that these women are linearly rendered, â€Å"constructed† rather than modeled. Les Demoiselles is also disturbing in the ghastly and violent way that the women’s faces are portrayed. Georges Braque went so far as to say that â€Å"Picasso was drinking turpentine and spitting fire†. But these women appeared the way they do for very specific reasons. These women are, after all, prostitutes who are cold, calculating businesswomen who dabble in sex for a profit and who practice a â€Å"savage† profession. The three women on the left look as though they were made from stone, and, remember, the onlooker is a sexual voyeur who is experiencing sexual anxiety. There is nothing inviting about either of them. Their faces are derived from the pre-Roman Iberian bronzes that Picasso had seen in the Louvre and had been experimenting with since 1906. The two remaining women’s faces are borrowed from African sculpture, a jarring juxtaposition. Perhaps one of the reasons why he did this is to suggest the dark, uncivilized nature of the â€Å"oldest† profession. Another reason is that these women represent a composite of the Spanish people, descended from native tribes the Iberian Peninsula, North Africa, and middle-eastern Jews. Furthermore, perhaps Picasso is even alluding to the final stages of syphilis, whereby the human face becomes a bulbous mask of thickened skin. But maybe Picasso’s interest in deforming their faces is purely a formal one, a means of negating realism and embracing abstraction and distortion. Nevertheless, this plundering of African art was revolutionary in that Picasso uses it to shock the viewer through brutality and savagery. Painting was never to be the same. Originally Les Demoiselles was going to be an allegory of venereal disease entitled â€Å"The Wages of Sin. † In the study for the painting, Picasso sketched a sailor carousing in a brothel amongst prostitutes and a young medical student holding a skull, a symbol for mortality. But the subsequent painting is quite different from the original sketch: only the women appear. And these women are not the traditional nudes that viewers had become so accustomed to in the 1880’s when Degas and Toulouse-Lautrec had begun to capture them in the moment of the â€Å"parade,† whereby prostitutes announced their wares and services to their clients. Nor are these women feminine and beautiful as Ingres’ Venus Anadyomene. Then who are these women in this brothel in Barcelona’s Avignon Street and why do they appear the way they do? Perhaps the answers to these questions lie in Picasso’s fear of women in general. Their flesh is not depicted as being soft and inviting but sharp and knifelike. In fact, their flesh suggests castration and fear of women. As Robert Hughes implies, â€Å"No painter put his anxiety about impotence and castration more plainly than Picasso did in Les Demoiselles, or projected it through a more violent dislocation of form. Even the melon that sweet and pulpy fruit, looks like a weapon†. But are there any other reasons why Picasso gives these women these shocking forms? Looked at in this way, it could be said that Les Demoiselles carries a message of filth and disease through its representation of these prostitutes, the crouching figure the most so. It is as if Picasso has deliberately mutated the figures as a way to express the rising cultural awareness and effects of venereal disease, which had become a major threat to prostitutes’ and their clients lives and each prostitute in the painting depicts a stage in the effects of sexual disease and decay. The whole painting gives an impression of uneasiness, because it breaks all the traditional rules of Art and also because it shows a disturbing scene that offers no sensuous interpretation; the Demoiselles are not pretty, they look barely human and some even interpret their distorted faces as the signs of illness. Pablo Picasso’s painting Les Demoiselles d’Avignon is a wonderful piece of art, and the style in which the picture is painted is very typical of Picasso. The artist completed the picture in the beginning of the previous century, in 1907, and used oil on canvas. Generally, Pablo Picasso is famous for unnaturally distorted figures in his paintings of that year, and Les Demoiselles d’Avignon is a great example. The picture is now hanging in the Museum of Modern Art in New York. In collusion, Picasso contributed a great deal to the world. He gave the world 50,000 timeless pieces of work. He helped express his opinions on violence and the Spanish Civil War. And finally Picasso contributed Les Demoiselles d’Avignon and cubism. Picasso was and extremely talented person and artist who gave the world a great deal of innovations and opinions and artwork. References www. faculty. mdc. edu www. pablopicasso. org http://search. proquest. com/docview/398999057? accountid=32521) http://search. proquest. com/docview/246571101? accountid=32521) www. ttexshevles. blogspot. com How to cite Picasso Final Paper, Papers

Stakeholder and Issues Management †Free Samples to Students

Question: Discuss about the Stakeholder and Issues Management. Answer: Introduction The business model of Domino is based on growing sales through franchisees, not to make the profit but to take a royalty from each and every sale. The stores of Dominos are bought and sold on the basis of the sales, not as per the calculation of profit. The company believes that the network of the company will have more stores and that will result in more profits for the company. The company focuses on products and services. Dominos in Australia has witnessed major issues despite the success story. The employees of the franchisees are facing huge stress and they are demotivated. There are concerns with the structural and behavioural patterns of the organisation. The pressure from the higher management affects the performance the morale of the employees. The autocratic leadership style of the franchise owner, Del Santo creates unrest among the employees. The assignment studies the low morale of the employees and the stress the employees face due to the lack of good communication patt ern in the organisation. Dominos is a global brand that is famous for pizza and the company has a network of franchises and retail stores all across the globe. Domino has a credible presence in Australia and has been enlisted on the ASE, the Australian Stock Exchange in the year 2005. The company has more than six hundred retail stores in the country. The company has earned a total revenue worth of $939,976,000 in the year 2016. The company is famous for its drones, fast pizzas, franchisees, and for the good workers. The company has developed technology to keep abreast of all the sales and operations of the franchises. The updated statistics are conveyed through IT technologies so that the head office can find the average size of the order for the employees and the duration that takes the pizza to reach the customers. The store earning determines the bonus for the managers of the stores and that is given to them in every quarter. Dominos in Australia has witnessed major issues despite the success story. The employees of the franchisees are facing huge stress and they are demotivated. There are concerns with the structural and behavioural patterns of the organisation(Weiss, 2009). The pressure from the higher management affects the performance the morale of the employees. The autocratic leadership approach of the senior management affects the culture of the workplace and the pressure of the management remains a hindrance for the quality performance of the staff members. The poor communication of the senior management with the frontline manager of the franchisees bring huge gap in the operations of the organisation. Identification of issues and problems The autocratic leadership style has been found in Del Santo. The underpayment wages and underpayment of penalties are found in the stores. Del Santo reduced the cost of the labour below 27% of sales. This has affected to the payroll system of the store and the work hours of the staff are lowered. The employees got less payment. He manipulated payroll and blamed his employees for the differences. He was treated by the employees as the dictator of the organisation. The autocratic leadership style of Del Santo has a negative impact on the performance of the organisation. The style of Del Santo is based on Taylors scientific management theory. The theory focuses on the control of the decision-making process domination. This kind of management is found in an organisation with a hierarchy that is very rigid(Daft, 2010). Del Santo advocates that his leadership style has a positive impact as it directs people to work sincerely, improve work method cooperation among the employees will be established. The negative impact of the autocratic leadership style is evident. The leadership style that Del Santo follows is based on Taylors theory and it ensures effective efficient accomplishment of work. But it does not have the impact on the employees practically. It has created resentment among the employees of the organisation(analytitech.com, 2016). The low morale of the workers lack of inspiration the employees lost their interest to work. Manipulation of the shift hours of the employees, violation of the payroll conditions practices, no payment for overtime and no payment for even the appropriate working hour etc. are major issues and it affected the operations of the franchisees(Ferrel, Ferrell, Fradrich, 2008). Most of the workers are afraid of losing their jobs for the policy of payment based on the working hours of the employees. The resentment among the workers remains the major issue for Dominos franchisees to manage the image of the brand of the company. The resentment will lead the lack of motivation and this will affect the company in the long run. The possible solutions are made in order to combat the immediate issues that are faced by the organisation. The followings are the possible solutions attempted in the assignment. Needs of changing the hierarchical structure of the franchisees The hierarchical structure has a negative impact on the management of the franchisees. The top level managements remain influential and the leaders become autocratic and formulate the rules as per their requirements(George, 2017). The change in the hierarchical pattern of the organisation will allow the employees to report their concern directly to the top level management so that the rules and regulations will be prepared well(valuebasedmanagement.net, 2017). The decision making will be delayed. The immediate boss cannot take immediate decisions as the decision making power will not be given to him or her. The change in the leadership style of leader will bring a change in the culture of the management will of the organisation. The workers will have no low morale and they will be very innovative in the workplace. They will not quit their jobs and will not get afraid of losing their jobs. The work method requires to be standardised and the work accomplishment should be done with the cooperation of the workers(Hawkin Mothersbaugh, 2012). A dictator leader makes everybody work as per the standardised laws. Thus a leader cannot always be a transformational leader and the autocratic leadership style will contribute to the growth of the organisation. Communication and motivation for the employees The communication between the top level management and the managers at the operational level is very important. The appropriate communication will bring no gaps in the operations. The employees will be well aware of the expectations and they will act accordingly. This will also help the management to motivate people to work more(Kannair, 2007). The interpersonal relationship will be developed and the top level management of Dominos can easily get the information from the bottom level employees. The workers do not require all information. More information will create confusion in them. This affects their efficiencies the productivity of the organisation will be decreased. Appropriate communication pattern Dominos success at the franchisee level is possible when the communication between the franchisee and the head office remains transparent and unbiased. The wage fraud practices at the franchisees are due to the unlawful behaviour of the franchisees. The communication at an appropriate level will help the entire organisation to communicate the policies of the organisation to all the employees( Parker Evans, 2014). The communication from the managerial level at the franchisees to the top management of the head office will be made on the everyday basis so that the head office will remain alert on the functioning of the stores or the franchisees. The rights of communication to the employees will help for the immediate communication and no fraud will be made at the lower level. The employees will not feel afraid and they can report the wrong practices at the lower level( Woiceshyn, 2011). The communication between CEO, managers and the frontline staff employees of Dominos will bring effective results on the development of the morals of the employees and the culture of the organisation will be effective. The feedback from the employees will accurate and the management can easily get the information related to the needs of employees and the stores and franchisees. Dominos can find out the issues at the franchisees and at the stores. The top management can solve their problems. Recommendation The leader can be taken the opinion of the employees before taking the decisions. The employees can help the Del to devise strategies to meet the expectations of the head office and to perform well at the franchise level. The communication process will be effective and the strategies will be formulated successfully. Review of the performance of the employees, managers and the management of Dominos is very important. The review will offer the exact feedback. The feedback will high light how the different stakeholders are performing and what steps are required to manage the issues. Del requires taking the feedback of the employees and the managers before making unlawful plan to reduce the working hours and reducing the payment of the workers. Bibliography Grima, T. (2012, 08 04). Positioning and Perceptual Mapping. Retrieved 08 25, 2017, from https://tonygrima.wordpress.com/tag/perceptual-map/ Parker, C., Evans, A. (2014). 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