Information Technology in Criminal Justice Systems Research Paper

Information Technology in Criminal Justice Systems - Research Paper Example On law enforcement, such information systems have helped in crime prevention and criminal justice program network, technical cooperation activities, and the development of the criminal justice information aimed at maintaining institutional capacities to respond to requests from member states as well as the general public. Future activities in the Information technology require more funding, planning, and coordination within the crime prevention and criminal justice programs in the realm of criminal justice information and computerization (Dana Spiegel 2009, pg 113). There are potential benefits that will come about with the use of wireless technologies in the criminal justice systems, which will mainly be realized in prosecutions, courts, and the correctional parts of the criminal justice systems. The prosecution will undoubtedly see an improved case output through the computer-based systems to assist with the cases' recording, in detail, and to track progress on each case, thereby triggering reminders when actions fall due. It will also bring about better use of clerical and professional resources as a result of easier recording and collating of information pertaining to different cases.

The Action of President Johnson Essay Example for Free

The Action of President Johnson Essay â€Å"The Action of President Johnson were far more important to the Civil Rights Movement than that of President Kennedy in the years 1960 to 1965† Explain what you agree or disagree with in this view. (24) President Kennedy was slow to help blacks during his short time in power during 1961 to 1963. Due to him having a close electoral victory he was hesitant to help blacks as he would become less popular amongst the whites, although he had a lot of power to do so anyway. Civil Rights legislation simply was not part of Kennedys agenda, he did use the power of the executive to back up Brown v. Board of education, but he supported no legislation to enforce or extend Civil Rights. However Kennedy had been so shocked by the number of blacks employed that he put pressure on the civil service to employ blacks. Even Kennedy himself promoted 40 blacks to top positions within the White House. However down south the situation was harder to change and Kennedy had to balance morality and practicality as he didn’t want to lose white southern voters. He’d been most helpful with his symbolic gestures by inviting more blacks than any other previous President. His group the EEOC also didn’t have much impact amongst the blacks but left a lasting impact by reminding employers of their obligations. In President Kennedys last attempts of the Civil Rights Bill to help black workers and blacks to use their vote; however the bill got stuck in congress. Johnson did not deviate from the Kennedy agenda significantly while serving the remainder of Kennedys term, but after getting elected in his own right vigorously pursued Civil Rights legislation, and got most of his Civil Rights legislation enacted into law before the new Congress had gotten their chairs warm. It only passed congress once President Johnson who came into power after Kennedy’s assassination continued to try and push the bill through although told it would affect the 1964 presidential election; Johnson insisted that discrimination was wrong. He’d had a vision of the ‘Great Society’, with an end to poverty and racial injustice. In conclusion Kennedy could be seen as someone who calculated his approach to racial problems, only helping blacks when forced to do so. The Civil Rights Bill which had been handed to congress by Kennedy was an important step to the civil Rights movement and although it was passed during Johnsons power it’s unsure if it was due to the sadness over Kennedys assassination, because of Kennedys efforts with the congressmen, or because of President Johnson.

Factors For Popularity Of Reality TV Show

Factors For Popularity Of Reality TV Show The recent onslaught of new reality programmes on general entertainment channels has once again brought this genre of programming into the limelight. Reality TV is not a new genre here; it has just become more popular (and controversial) now. Reality shows are almost a decade old but thus far, soaps have reigned large in terms of television ratings. With rising competition, however, in recent months, non-fiction-based programmes have made a stunning comeback, albeit in a new avatar-titillating reality programming. After an overdose of saas-bahu (daughter-in-law-mother-in-law) soaps, the producers and also the audience seem to be happy lapping up more realistic soaps (fiction) and reality (non-fiction) programmes. In the list of the top 10 programmes on television currently are two reality shows and some socially relevant soap operas. There are two things about reality shows that attract viewers and generate controversy: the concept of reality or realism; and the shock effect. The concept of reality TV draws from realism in cinema. So, its a format that presents ordinary people in live, supposedly unscripted (though often deliberately manufactured) situations, and monitors or judges their emotions, behaviour or talent. Such formats usually invoke competition and provide big money as rewards. Still, the very dissonance between the fact that these programmes are real and relevant (for the audience) and that contestants usually compete in them for fame and money-thereby being willing to do things they wouldnt otherwise do-raises issues related to the honesty of reality shows. The situation is exacerbated when producers use the concept of reality to shock and awe audiences-one way to break through the clutter. The point still remains: What determines the popularity of reality television show? 2.0 Review of Literature The process of QDA: John Seidel, in his article, discusses at length, the intricacies of the process of qualitative data analysis (QDA). The author goes on to explain that how the complex and rigorous practice of QDA is based on a simple foundation. QDA is described as a process of Noticing, Collecting, and Thinking about interesting things. QDA process has the following characteristics: Iterative and Progressive: The process is iterative and progressive because it is a cycle that keeps repeating. For example, when you are thinking about things you also start noticing few things in the data. You then collect and think about these new things. In principle the process is an infinite spiral. Recursive: The process is recursive because one part can call you back to a previous part. For example, while you are busy collecting things you might simultaneously start noticing new things to collect. Holographic: The process is holographic in that each step in the process contains the entire process. For example, when you first notice things you are already mentally collecting and thinking about those things. 1. Noticing Things and coding data Noticing simply means making observations, writing field notes, tape recording interviews, gathering documents, etc. When you do this you are producing a record of the things that you have noticed. Reading the record helps you focus your attention on that record, and notice interesting things in the record.Coding data is a simple process. When you read a book, underline or highlight passages and make margin notes you are coding that book. 2. Collecting and sorting instances of things This process follows once you have noticed and coded things. The author compares this process to a jigsaw puzzle where you start by sorting the pieces of the puzzle. In a puzzle picture with a tree, a house, and sky, a common strategy for solving it is to identify and sort puzzle pieces into groups ( e.g., frame pieces, tree pieces, house pieces, and sky pieces). When you identify piece, you are noticing and coding them. When you sort the pieces you are collecting them.The author suggests that disassembling, coding, and then sorting and sifting through the data, is the primary path to analysis. But intensive data coding, disassembly, sorting, and sifting, is neither the only way to analyze data, nor is it necessarily the most appropriate strategy. 3. Thinking about things In the thinking process, one examines the things that have been collected with a view to achieve the following goals: . Your goals are: a) to make some type of sense out of each collection, b) look for patterns and relationships both within a collection, and also across collections, and c) to make general discoveries about the phenomena you are researching. One must compare and contrast each of the things that have been noticed in order to discover similarities and differences, build typologies, or find sequences and patterns. In the process one might also stumble across both wholes and holes in the data. Popularity of Reality TV The article explains the results of a new study that examines the ongoing popularity of reality TV. Unlike other shows such as news programs or sitcoms, reality TV allows viewers to imagine themselves as actual participants. People may find a certain fascination in contrasting what they think they would do in a given situation to the actions taken by the real participants a group of individuals they perceive as their peers. In many of the reality shows, ordinary people are placed in exotic, unfamiliar surroundings where they are pitted against the elements. Others focus on ordinary people engaging in common activities such as dating or home redecorating. In both instances, viewers are given the chance to compare and contrast their own lives with those of the shows protagonists. The resulting experience is a complexly constructed and highly individualized experience the researchers call hyper authenticity. That viewers may be drawn by the chance to mentally test their behavior against that of the actual participants contrasts with the common criticism of reality TV viewers as passive voyeurs thereby blending fantasy and reality. Most participants agreed that the main thing that made reality TV shows more interesting than sitcoms is that they are unscripted. In conclusion, the author senses that the success of reality-based entertainment may be the depiction by certain shows that it is totally foreign to viewers. It may reflect nostalgia for authenticity among the class of consumers to whom it is most rigorously denied. According to the researchers, others may appeal simply because they are so familiar, and therefore understandable, to viewers. http://www.wfanet.org/pdf/med_documents/Whatadvertiserswantfromonlinemeasurement.pdf What advertisers want from online audience measurement The objective of this paper is to help inform current and future efforts to advance online audience measurement by providing advertisers constructive input on this vital issue Advertisers increasingly communicate to and interact with their target audiences through the online media in all its variations and platforms for a broad range of purposes and objectives including search, social networks, display, extensions of traditional media, advertisers own sites or services, on fixed and mobile platforms, one-way and interactive. The information needed is specifically related to the following: Assess the appropriateness and economic value of various online media alternatives and vehicles, Predict and plan delivery against targets, build online-and-offline strategies and related media mix, arbitrate between solutions, allocate budget resources and project ROI Purchase commercial space (and/or other inventory, e.g. search) according to properly defi ned and reliable metrics for contacts with the target audience Monitor actual execution and post-analyze if, when and how the purchased spaces or other inventory had been delivered Evaluate the results and ROI to improve future strategies The challenges inherent to the collection and production of the information arise as The online media is still in a nascent stage Exposure or commercial contact themselves are not clearly defined Receptiveness of commercial communication by the audience varies by format The vast majority have small, segmented audiences, the same person belonging to the audiences of a large number of different vehicles. Large samples and/or specific data collection procedures are required.Interactivity provides a major opportunity, which barely exists in other media: Interactivity of the devices: The technical ability to monitor (and potentially track across time) the actual display/delivery of each and every piece of content on every single device in front of the audience Interactivity of the audiences: most frequently the audiences, when reached, are in a posture/situation where feed-back is attitudinally natural and technically possible/seamless. Another opportunity arises from the relative youth of the media. As new measurement systems are introduced in parallel with the medias evolution, the industry can set them up according to the needs of all parties: Consistently across markets whilst benefitting from cross-border sharing of experimentation and experience. Objective statement: To study the factors responsible for popularity of reality TV show Variables: Dependent factor: Performance of reality TV shows Independent factors: (i) Target audience Age group Professional and cultural background Psychological mindset (ii) Social context Political issues in domestic country Social issues in domestic country (iii) TV programming Time slot in which the program is broadcasted TRPs of other TV programmes on this channel (iv) Competition TRPs of TV shows on other channels Profitability of the channel versus that of other channels Target Audience Social Context Popularity of Reality TV show Competition TV programming Measurement of variables Variable Measurement Age group Age group and gender Professional and cultural background occupation, , number of family members, Education, Psychological mindset tourist destination, idle time, you relate to, connect with reality TV program Political issues in domestic country political issue that concern you Social issues in domestic country political issue that concern you Time slot in which the program is broadcasted number of hours of TV watching, length of program (airtime) favorite time of slot for TV TRPs of other TV program on this channel favorite TV programs, TRP ratings (secondary source) TRPs of TV shows on other channels TRP ratings (secondary source) Hypothesis The popularity of reality television shows is influenced by the political issue in the mind of the respondent ( using ANOVA) The popularity of reality television shows is influenced by the social issue in the mind of the respondent (using ANOVA) There is relation between the respondents preference of activity in idle time and different genre of reality television show(using CROSSTABS) There is a relation between age group and preference of time slot (using CROSSTABS) The educational background of the respondents is independent of popularity of reality shows (using Chi Square) There is a relation between the reason for watching TV and popularity of reality TV shows. Research Methodology Recent success of reality television programs made us inquisitive about the factors that dictate their success. We turned this idea into a research question. We reviewed few articles from literature related to this topic so that the knowledge gained will help us in mapping these factors and giving importance to them. We decided to conduct the following studies: Survey-questionnaire: behaviors, beliefs and observations of specific groups are identified, reported and interpreted. Analysis: classes of data are collected and studies conducted to discern patterns and formulate principles that might guide future action We created our hypothesis to continue our studies. Our hypothesis were based on our reading over internet, blogs and personal opinion. The data will be collected and hypothesis will be analyses accordingly. We select convenience sampling methodology for which we created an Online questionnaire in Google documents and passed the link to out friends by email, Google chats and social networking websites. We were able to collect their responses and analyze the data using SPSS 17. We then again checked our hypothesis to reach to the conclusion. On analysis, anomalies in the pattern if any will be captured and the research outcome can create an impact on programming reality television shows in future. The final research report will be submitted to NMIMS university. 6.0 Sampling technique In this form of research, it would be ideal to test the entire population, but the population is just too large that it is impossible to include every individual. This is the reason why we rely on sampling techniques like convenience sampling, the most common of all sampling techniques. Many researchers prefer this sampling technique because it is fast, inexpensive, easy and the subjects are readily available. USES: Researchers use convenience sampling not just because it is easy to use, but because it also has other research advantages. This sampling technique is also useful in documenting that a particular quality of a substance or phenomenon occurs within a given sample. Such studies are also very useful for detecting relationships among different phenomena. CRITICISMS: The most obvious criticism about convenience sampling is sampling bias and that the sample is not representative of the entire population. This may be the biggest disadvantage when using a convenience sample because it leads to more problems and criticisms. Systematic bias stems from sampling bias. This refers to a constant difference between the results from the sample and the theoretical results from the entire population. It is not rare that the results from a study that uses a convenience sample differ significantly with the results from the entire population. A consequence of having systematic bias is obtaining skewed results. Another significant criticism about using a convenience sample is the limitation in generalization and inference making about the entire population. Since the sample is not representative of the population, the results of the study cannot speak for the entire population. This results to a low external validity of the study. Total Sample (n=88)Sample Regular television audience (n=60, 69%) Moderately regular television audience (n=26, 29%) Rarely watch television programs (n=2, 2%) Although we rely on convenience sampling, we have a fairly distributed sample in terms of viewership of television programs Age profile Sex profile Limitation: Since we ask our respondents to rate their favorite reality shows which actually belong to different timelines. Hence the true rating is basically relative to actual shows aired on television channels today. The same limitation also applies to data obtained from Secondary sources Secondary Data We have obtained secondary data from TAM peoplemeter system which measures audience viewership (in the form of TRPs). Since our research is based completely on TRPs, we have obtained the TRP ratings of different genre of Reality shows (Average TRP captured in the period in which the show is captured) Television Rating Interpretation: We observe that the sigma value for Thriller shows, aspirational shows and adventure politics (Fear Factor, Rakhi kaa swayamvar and Roadies) are below 0.05, hence at 95% significance level we reject the null hypothesis (u1 not equal to u2 not equal to u3 à ¢Ã¢â€š ¬Ã‚ ¦. ). This means that we accept the alternate hypothesis which is the popularity of this show depends on social situation in mind of the respondent. For the rest of them, we accept the null hypothesis which states that the popularity of these shows do not depend on social factors. c) Hypothesis: There is relation between preferred activity in idle time and reality television Interpretation: From the above table, we observe that respondents who like meeting and hanging out with friends are generally the ones who rate reality programs on higher side. Another point is those who prefer Socialising with relatives actually like shows with high entertainment value and politics around 50% of Big Boss viewers. D) Hypothesis: there is relation between age group and favorite time slot Interpretation: Assuming 90% level of significance, we reject the null hypothesis and accept the alternate one and conclude that the liking of reality television program depends educational background of the respondents. f) Hypothesis: There is a relation between the reason for watching TV and popularity of reality TV shows. Interpretation: The above figure is a Percentage Bar Graph that shows the distribution of responses of various factors that people connect the reality shows with. Roadies Out of all the respondants who have rated Roadies as their favourite show, majority of them connect with Roadies as a pure entertainment show. The next big bunch of individuals connect with Roadies or watch Roadies as a Stress Reliever. It shows that the people interested in this show are looking for something as a stress buster. Big Boss Almost one-third of the respondants who like Big Boss relate to the show as a source of only Entertainment. It is followed by another big set of people who connect with the show as a stress reliever. SaReGaMaPa SaReGaMaPa the musical show also comes out as a major source of entertainment. Rakhi Ka swayamvar Unlike other shows, in case of Rakhi ka Swayamvar, people look at the show as a source of knowledge. This knowledge might include the curiosity of people to understand the prevailing rituals in the society. For most of the other shows, the research highlights that people look at these shows more as a source of general entertainment than anything else.

Pros and Cons of Creative Labour

Pros and Cons of Creative Labour Assignment question: Critically evaluate the concept of creative labour. Is it good or bad for workers and society? For the last 20-30 years the information, communication technology, media and services and industries have become the most essential and demanded things in the modern world. They bring people new opportunities, which can simplify people’s needs and wants. I believe this Charles Landry claimed : suggests â€Å"that the developments made are essentially cultural as they reflect the way people perceive their problems and opportunities† (Charles Landry). The important point here is that these technologies and services designed and developed by humanity, are what we now call the ‘creative labour’ market. â€Å"Creativity is essential to the way we live and work today, and in many senses always has been† (Florida, 2002 p. 21). The purpose of this essay is to critically evaluate the concept of creative labour in order to answer the question: â€Å"Is it good or bad for workers and society in our world†. Debate continues as to what creativity is exactly, what it means to be creative and how this fits into society and the wider economic environment. John Hawkins (2002) claimed that the best way to define creativity as ‘having a new idea’; he argued that our society needs information. He also advocated that we need to be active, clever, and persistent in challenging this information. In his words, â€Å"there is a need to be original, sceptical, argumentative, often bloody-minded and occasionally downright negative – all these things make us creative. However, it leads us to the question: â€Å"where does this creativity take place?† It is possible to say that creativity is produced by creative industries and it would be the right answer, but in our society, creativity can take place anywhere†. As Hawkins (2002) said, â€Å"creativity is where the brain works in the determining motive†. The psychologist Dean Keith Simonton argued that creativity is favoured by an intellect that has been enriched with diverse experiences and perspectives. Creativity is associated with a mind that exhibits a variety of interests and knowledge (Florida, 2002 p. 33). Peter Drucker said that â€Å"knowledge† and â€Å"information† are the tools and materials of creativity (Florida, 2002 p.44). Because of the ideological freight of its specific features, creative work heightens and denaturalises normal principles of work. In creative work’s marginal context, normal principles of work seem to contradict broader social values. (Theorising Cultural Work, 2013 p.74) To conclude this point, creativity is where thoughts are not ordinary, aesthetic, individual, smart and clever. A creative person innovates, produces, provides and develops new ideas and concepts. Creativity covers social, cultural and economic areas. The creative-labour market is crucial for workers. A creative worker is someone that communicates with society. The creative worker innovates, creates and develops for people; they focus on production. Raymond Williams claimed that creative workers are different from other workers, â€Å"The creative worker makes the communication of experience their central work in life – the artist’s work is the actual work of transmission and uses learned skills to transmit that experience†. â€Å"Creativity involves distinct kinds of thinking and habits that must be cultivated both in the individual and in the surrounding society† (Florida, 2002 p.21). Creative industry workers are organised and mobilised so time constraints such as normal office hours and workspaces are not set in stone. Creative workers are very influential, they form the core of the economy: science, engineering, architecture and design, education, arts, music and entertainment – even finance , law and healthcare. The creative class generates wealth and happiness – local government should develop policies to cultivate them (Florida, 2002). The creative process is social, not just individual, and thus forms of organisation are necessary (Florida, 2002). Creative work is a cooperative and independent model of production. Creative labour is power to people, where a person can take control over things they are going to create and choose how they relate to the world around them. Creativity breeds freedom, autonomy and choice, aspects which make the employee feel empowered, comfortable and in control. Free agents, so the argument goes, are able to break free from the stranglehold of large organisations and take control of their lives. (Florida, 2002 p.28). Another huge benefit for creative workers are good working condition, you can work not only at an office, but you could be in a film or radio studio, atelier, at home or even travelling across the world. Being creative is in itself a challenge, dependent upon many factors including interest and involvement from society. One example of the challenges could be an interview taken from Creative Labour. Media work in three cultural industries, told by faced is below – a documentary producer, Malcolm who shares his experience of working in the creative industries: â€Å"I have had an amazing life. I have watched democracy come to Argentina, witnessed the most violent riots they had in country for 50 years. I was there when the gate of Gaza were opened. I’ve been attacked by the KGB. I’ve filmed with the Contras in Nicaragua, all kinds of places and amazing experiences from plane[WU1] crashes to sharing terrible tragic moments to moments of great elation. I have seen so much of the world and I have been paid to do that. So it has been a very intense life with great experiences and I am glad I had it. (Interview 37 p. 128 â€Å"Creative Labour. Media work in three cultural industries) The Malcolm interview explains that the experience and skills the workers earn in creative labour area cannot be found or reproduced, or recreated in other areas, but moments in history can be captured by individuals and reflected back to a wider audience. This not only provides opportunities to be a witness of history in the making but also be part of this history. To conclude, the issue of creative work is complex and contradictory – a mixture of autonomy, glamour and exploitation, inequality and precarious conditions. Media companies operating in fields as diverse and interconnected as public relations, marketing, advertising[WU2] and journalism have traditionally been considered cultural industries, representing those companies and professions primarily responsible for the industrial production and circulation of culture. (Hesmondhalgh, 2002 p. 163) In the ongoing academic debate on the definition of culture (or cultural) industries, media production tends to be emphasised as particular to the field of action of the companies and corporations involved. In recent years, policy makers, industry observers and scholars alike have reconceptualised media work as taking place within a broader context of creative industries. The term was introduced by the UK government Department of Culture, Media and Sport (DCMS) in 1998, defining creative industries as: those industries which have their origin in individual creativity, skill and talent and which have a potential for wealth and job creation through the generation and exploitation pf intellectual property. This includes advertising, architecture, the art and antiques market, crafts, design, designer fashion, film and video, interactive leisure software and computer games, television and radio. Creativity also has some negative effects on workers. The ‘creative process’ can take a long time and there is a high level of risk. In recent times, technological advances have increased so rapidly, that adopting and working with the new technologies can make workers feel uncomfortable and left behind somewhat. With the economy as it is currently, and such high levels of unemployment, workers in the creative industries can struggle to maintain their career progress. This has led to a high level of competition and creates high levels of stress, but ultimately results in progress. David Hesmondhaulgh, a prominent academic and a director of Media Industries Research Centre stated in his book that ‘creative labour and creativity is the big aspect for media workers[WU3]’(Hesmondhalgh 2002 p.168). In his opinion professional identity of creative industries involves four constituent elements: content, connectivity, creativity and commerce (Ibid) Professionals in media industries in particular and creative industries more generally produce content, yes. However, they also invest in platforms for connectivity – where fans and audiences provide free labour. Media work involves the ‘creation’ with the industries, yes, but tends to take place within a distinctly commercial context. Within a context of destabilising legacy industries and dissolving boundaries between media consumption and production, the media worker may feel isolated. However, this isolation can give some creative control to the media professional as well. Arthur (1994) suggests that â€Å"creating a career without boundaries could be the best, if not only, way to survive in the current work environment†. To some extent, individuals could be seen as taking control of their career paths, resulting in a new type of self-directed job security. It could also be said that those who are willing to train themselves, become more[WU4] attractive to management and employers. By being proficient in various methods of media production, workers can use multiple creative talents to their advantage – and are increasingly expected to be doing so. In the everyday construction of a sense of self for cultural workers – that leads to a more or less coherent (or at least imagined) professional identity – it is the interplay between the values of providing[WU5] content, organising connectivity, managing creative freedom and being commercially successful (which is not necessarily an expression in monetary terms) that structures one’s negotiations. There is an argument to say that working in the creative industries would seem to allow the individual to identify themselves as a single producer of content and as part of a larger whole, whereas the intermediate level of the company or organisation seems to disappear. (David Hesmondhalgh, 2002) Society massively benefits from creative and cultural labour. Creative workers are constantly thinking about what audiences’ think, what they want and work on ways of delivering this. There is huge demographic analysis and numerous surveys undertaken in either new creations of technological innovations, the making of new TV shows, art, literature and other various media platforms. Creative workers make products for people and society. As Maurizio Lazzarato[WU6] said: â€Å"The image of society is dominated by knowledge and information work† (Lazzarato, 1996). Creativity and creative labour have a huge effect not only on workers and industries, but also on society and the world. London is a perfect example of a city of huge world status, which is defined and almost created by its cultural identity, practices and the development of its creative industries. Industries present in the capital are internationally oriented and diversified; which in itself cultivates the necessary support for both local and international creative activity. This type of activity makes London a more attractive environment to people that are artistic, thus resulting in the development of the city in economic, social and cultural ways. Charles Landry, (1997) claimed, â€Å"Cultural activities are inextricable to innovation and creativity, and historically this has been the lifeblood of cities as a means of unleashing their capacity to survive and adapt†. The places where the creativity and cultural activities took place in large lead only to development and gr owth of characteristic mentioned above. The cultural and creative industries are part of what is commonly referred to as the ‘service and knowledge economy’. Writers who stress the role of creative (as a source of competitive advantage) point to the injection of ‘creative’ work into all areas of economic life. (Andy Pratt, 2006). Another important point to make here is that creative labour and creative industries create the so-called â€Å"New Economy†. The New Economy, is defined as the transition from ‘heavy industry’ to a new technology based economy. Creative labour is very connected to this concept because the provision of information and communication technologies (ICTs) is central to determining our economy be dynamic rather than just stable. Terry Flew (2001) stated that the core dynamics of this economic system arose out of the fusion of technologies of knowledge generation, information processing, and symbol communication with the processes of globalisation, digitisat ion and networking. He stated that these have led to the rise of the network society as the dominant form of social organisation. The point Terry Flew makes, is that creative industries and labour, whilst providing knowledge, new ideas and innovation of technologies make a huge contribution and are central to the development of our economy, which brings only benefits to our society and world as a whole. In so-called ‘old economy’ markets are stable, in ‘new economy’ markets are dynamic, the scope of completion are less national, more global. Manufacturing used to be at the core of our economy, now everything is centred around services, knowledge and information. The source of value in ‘old economy’ is raw materials or physical capital; you could say that now, more value is placed on human resources and social capital. In business areas, key drivers of growth was capital and labour, now is about innovation, knowledge and networking. The main source of competitive advantage was lowering cost through scale, but now is made by innovation, quality and the depth and breadth of communication. The innovation of new information and communication technologies made by creative labour has changed the tastes of business and economy workers, people started to gain broad skills and adaptability when previously they have basic job-specific skills. Innovation a nd creativity make society think and discover differently in a way that is developing all the time. To conclude, creativity, creative labour and creative industries are great, significant and essential thing in our world. Creative labour creates and innovates things, new technologies, it provides new theories and information, which affects and influences workers, people, and the overall economy. It makes social and cultural life of people, cities and the world more positive and our ways of working smarter. Creative industries is useful for workers, especially media because of its highly popular graduate employment destinations with glamorous and exciting places to work alongside other highly educated, highly skilled workers. Creativity took place in media and communications. These are: advertising, architecture, the art and antiques market, crafts, design, designer fashion, film, interactive leisure software, music, the performing arts, publishing, software, television and radio. (Creative Industries Task Force, 1998) Reference Baker S. and Hesmondhalgh, D. (2011). Creative Labour. Media Work In Three Cultural Industries. Routledge Blair, H. (2001). ‘â€Å"You’re Only as Good as Your Last Job†: the Labour Process and Labour Market in the British Film Industry.’ Work, Employment and Society. 15(1): 149-169. Florida, R. (2004). The Rise of the Creative Class: And how it’s Transforming Work, Leisure, Community and Everyday Life. London: Basic Books. Flew, T. (2012). The Creative Industries: Culture and Policy. London: Sage Gill, R. and Pratt, A. (2008). ‘In the social factory? Immaterial labour, precariousness and cultural work’. Theory, Culture and Society. 25(1): 2-30 Hartley, J. (2005). Creative Industries. Blackwell. Oxford Hesmondhalgh, D. (2007). The Cultural Industries, 2nd Edition. London: Sage [WU1]Done paraphrasing [WU2]Done paraphrasing [WU3]Check para [WU4]Done in next page [WU5]Working on it [WU6]Can’t find a particular sentence in the book

Fighting and School Violence Should Not Be Tolerated :: School Violence Essays

When you are a middle or high school public school teacher, events happen instantaneously, and you have to be equal to the task of confronting the challenge of an unexpected situation face to face. You never know when or where school violence will erupt; a teacher only knows that it inevitably will. Teachers not only must be wary of being inadvertently injured by enraged â€Å"students† fighting in the hallway or the cafeteria, a peer might even wind-up becoming a threat to one’s physical safety. I recall one particular eighth grade Washington trip. As usual, I was chaperoning one hundred twenty eighth graders on the Hammonton Middle School’s annual class DC trip. We had just arrived back at the Mt. Vernon Motel after visiting the Jefferson Memorial. The nine chaperones were fatigued, but the â€Å"students† were still rambunctious. Since the â€Å"children† had been well behaved, the school rewarded them with a pizza party in the motel’s Madison Room. Five of the Hammonton’ chaperones escorted the first half of â€Å"students† from the party back to their rooms, which were located in a remote section of the expansive motel. The other half of the entourage was later escorted to their quarters by three other chaperones and myself. Another male teacher and I made sure all of our â€Å"students† had evacuated the Madison Room, and we brought up the rear of the second batch of sixty kids. Suddenly, a male chaperone from a Catholic high school class that had also been staying at the Tyson’s Corner motel came running over to us, screaming the larynx out of his throat. â€Å"Are you in charge of those nasty kids on the other side of the building?† he hollered. â€Å"Yes we are,† I answered. â€Å"There are five of our chaperones already over there.† â€Å"Well, your kids are banging their fists on the walls and setting a bad example for my kids!† he angrily shouted with a crimson face. â€Å"You’d better get over there quick and settle them down or I’m gonna’ call the cops!† â€Å"Look,† I calmly replied, â€Å"I’ve been assigned to this group of sixty students. Our school has five very capable chaperones already over there to deal with that problem.† Apparently, the livid fellow did not relish my explanation. He took a huge swing at my jaw. I ducked down just in the nick of time. His blow glanced off the top of my head and knocked my baseball cap off.

Anna Kingsley Essay -- essays research papers fc

Anna Kingsley, a woman of strength and determination overcame many odds not expected of an African American slave. She married a slave owner, owned land, and was once a slave herself. She was well known in a free black community she helped establish. Anna Madgigine Jai Kingsley was the wife of plantation owner Zephaniah Kingsley. She was the daughter of a man of high status. Her father’s sides were descendants of the well know Njaajan Njaay, the creators of the Jolof Empire. Her father was killed in April 1806, the day she was captured. The tyeddo warriors invaded her village and collected all the villagers to be sold as slaves. That day she not only lost her freedom and her home, but also her dignity and her youth (Harvey, 41). Anna and the others were lead to a ship and they sailed from Senegal to Havana, Cuba to be sold as slaves. The Havana Market was the center of commerce of Spain’s colonies in America (Schafer, 23). Anna arrived in Florida in 1806. She was thirteen years old. Zephaniah Kinglsey Jr was a citizen of Spanish East Florida. He was born in England, but raised in Charleston, South Carolina. His father, a merchant, moved his family to Nova Scotia because he was banished from South Carolina for giving support to King George III at time of the American Revolution. In 1808, Kinglsey moved to Florida, where he pledged his fidelity to Spain and imported slaves on his plantation (Schafer, 21). Once purchased, Kingsley boarded Anna on the ship Esther and they sailed to Laurel Grove Plantation north and on the west of the St. Johns River. This would be her new home. She did not stay in the slave quarters, but she did stay in his two-story home. He thought of her as his wife and she was carrying his child. A few months before Anna gave birth; she became manager of Kingsley’s household located at Laurel Grove. Most of the slave’s came from East and West Africa. The plantation consisted of corn, cotton, mandarin oranges, sugarcane, potatoes and beans. According to Kinglsey â€Å"color ought not be the badge of degrading,† only the distinction should be between slaves and free, not between white and colored (Schafer, 32). Anna and Zephaniah were open about their relationship. She was the head wife or woman in a polygamous household. One March 4, 1811 after five years of enslavement, Anna was emancipated by her husband. She was now a free woman again. In 181... ...she once again had to leave the home she created because Florida seceded the union. The Civil War soon followed. After the Civil War, Anna never had the wealth and power that she once had. Her personal wealth was acquired through ownership of her slaves. There is no true documentation as to when Anna died, but it is thought to be between 1860 and 1870. Anna Madgigine Jai Kingsley was buried in a peaceful grove off the St. Johns River in Florida. She is surrounded by many family members including her daughters. She rests peacefully in an unmarked grave sheltered from the violence that followed her through a life marked by danger, courage, tenacious defense of family, flight, and triumphant return (Schafer, 121). She was a remarkable and determined black woman who achieved many accomplishments that are extraordinary. She became a well known figure in a free black community. Works Cited Harvey, Karen. Daring daughters: St. Augustine’s feisty females. Virginia Beach, VA, 2002 Schafer, Daniel. Anna Madgigine Jai Kingsley. Florida, 2003 Tilford, Kathy, Anna Kingsley: A free woman.† OAH Magazine of history 12, 1997 http://www.oah.org/pubs/magazone/women/tilford.htm

Night World : Spellbinder Chapter 2

The crowd erupted in panic. Everything was happening at once; Thea couldn't sort out the different impressions. Half the people in front of her were running. The other half were yelling. â€Å"Call nine-one-one-â€Å" â€Å"It got Eric-â€Å" â€Å"I told you to kill it!† The red-headed boy was darting forward with his stick. Other kids were rushing around, looking for rocks. The group had become a mob. The snake was rattling wildly, a terrifying sizzling sound. It was in a frenzy, ready to strike again at any moment-and there was nothing Thea could do. â€Å"Hey!† The voice startled her. It came from Eric, the boy who'd been bitten. â€Å"Calm down, you guys. Josh, give me that.† He was talking to the redhead with the forked branch. â€Å"It didn't bite me. It just struck.† Thea stared at him. Was this guy crazy? But people were listening to him. A girl in baggy shorts and a midriff top stopped hefting her rock. â€Å"Just let me get hold of it†¦ then I can take it out into the brush where it won't hurt anybody.† Definitely crazy. He was talking in such a matter-of-fact, reasonable way-and he was going to try to pin the snake down with that stick. Somebody had to act fast. A flash of ruby-color caught Thea's eye. Blaise was in the crowd, watching with pursed lips. Thea made her decision. She dove for the snake. It was watching the stick. Thea grabbed for its mind before grabbing its body-which kept it immobilized for the instant she needed to seize it just below the head. She hung on while its jaws gaped and its body lashed. â€Å"Grab the tail and we'll get it out of here,† she said breathlessly to Eric the crazy guy. Eric was staring at her grip on the snake, dumbfounded. â€Å"For God's sake, don't let go. It can twist in a second†¦.† â€Å"I know. Grab it!† He grabbed it. Most of the crowd scattered as Thea wheeled around with the snake's head held tightly at arm's length. Blaise didn't run, she just looked at the snake as if it smelled bad. â€Å"I need this,† Thea whispered hastily as she passed her cousin. She snatched at Blaise's necklace with her free hand. The fragile gold chain broke and Thea's fingers closed around a stone. Then she was heading out into the scrub brush, the weight of the snake dragging on her arm. She walked fast, because Eric didn't have much time. The grounds behind the school sloped up and then downward, getting wilder and more gray-brown. When the buildings were out of sight, Thea stopped. â€Å"This is a good place,† Eric said. His voice was strained. Thea glanced back and saw that he looked pale. Brave and very, very crazy, she thought. â€Å"Okay, we let go on three.† She jerked her head. â€Å"Throw it that way and back up fast.† He nodded and counted with her. â€Å"One†¦ two†¦ three.† Giving it a slight swing, they both let go. The snake flew in a graceful arc and landed near a clump of purple sage. It wriggled immediately into the brush without showing the slightest hint of gratitude. Thea felt its cool, scaly mind recede as it thought, That smell†¦ that shade†¦ safety. She let out the breath she hadn't realized she'd been holding. Behind her, she heard Eric sit down abruptly. â€Å"Well, that's that.† His own breathing was fast and irregular. â€Å"Now could I ask you a favor?† He was sitting with his long legs straight out, his skin even paler than before. Perspiration beaded on his upper lip. â€Å"You know, I'm not really sure it didn't bite me,† he said. Thea knew-and knew Eric knew-that it had. Rattlers did sometimes strike without biting, and did sometimes bite without injecting venom. But not this time. What she couldn't believe was that any human would care enough about a snake to let a bite go untreated. â€Å"Let me see your leg,† she said. â€Å"Actually, I think maybe you'd better just call the paramedics.† â€Å"Please let me see.† She kept her voice gentle, kneeling in front of him, reaching slowly. The way she'd approach a scared animal. He held still, letting her roll up his jeans leg. There it was, the little double wound in the tanned skin. Not much blood. But surrounded by swelling already. Even if she ran back to the school, even if the paramedics broke every speed law, it wouldn't be fast enough. Sure, they'd save his life, but his leg would swell up like a sausage and turn purple and he'd have days of unbelievable pain. Except that Thea had in her hand an Isis bloodstone. A deep red carnelian engraved with a scarab, symbol of the Egyptian Queen goddess, Isis. The ancient Egyptians had put the stones at the feet of mummies; Blaise used it to heighten passion. But it was also the most powerful purifier of the blood in existence. Eric groaned suddenly. His arm was over his eyes, and Thea knew what he must be feeling. Weakness, nausea, disorientation. She felt sorry for him, but his confusion would actually work to her advantage. She pressed her hand to the wounds, the carnelian hidden between her tightly closed fingers. Then she started to hum under her breath, visualizing what she wanted to happen. The thing about gems was that they didn't work on their own. They were just a means of raising psychic power, focusing it, and directing it to a certain purpose. Find the poison, surround it, dispel it. Purify and eliminate. Then encourage the body's natural defenses. Finally, soothe away the swelling and redness, sending the blood back where it belonged. As she knelt there, feeling the sun on the back of her head, she suddenly realized that she'd never done this before. She'd healed animals-puppies with toad poisoning and cats with spider bites-but never a person. Funny how she'd known instinctively that she could do it. She'd almost felt that she had to do it. She sat back on her heels, pocketing the bloodstone. â€Å"How are you feeling?† â€Å"Huh?† He took his arm away from his eyes. â€Å"Sorry-I think I sort of blanked out there for a minute.† Good, Thea thought. â€Å"But how do you feel now?† He looked at her as if he were struggling under pressure to be gentle. He was going to explain to her that people who got bitten by rattlesnakes felt sick. But then his expression changed. â€Å"I feel†¦ it's weird†¦ I think maybe it's gone numb.† He peered doubtfully at his calf. â€Å"No, you were just lucky. You didn't get bitten.† â€Å"What?† He scrambled to roll his jeans leg up higher. Then he just stared. The flesh was smooth and unmarked, with just the slightest trace ot redness left. â€Å"I was sure†¦Ã¢â‚¬  He lifted his eyes to hers. It was the first time Thea had really gotten a chance to look at him. He was a nice-looking guy, lean and sandy-haired and sweet-faced. Long legs. And those eyes†¦ deep green with gray flecks. Just now they were both intense and bewildered, like those of a startled kid. â€Å"How'd you do that?† he said. Thea was shocked speechless. He wasn't supposed to respond like this. What was wrong with him? When she could talk again, she said, â€Å"I didn't do anything.† â€Å"Yes, you did,† he said, and now his eyes were clear and direct, full of an odd conviction. Suddenly his expression changed to something like wonder. â€Å"You†¦ there's something so different about you.† He leaned forward slowly, as if entranced. And then†¦ Thea experienced an odd duality. She was used to seeing herself through the eyes of animals: a big, hairless creature in false skins. But now she saw herself as Eric saw her. A kneeling girl with yellow hair falling loose over her shoulders and soft brown eyes. A face that was too gentle, with a very worried expression. â€Å"You're†¦ beautiful,† Eric said, still wondering. â€Å"I've never seen anybody†¦ but it's like there's a mist all around you. You're so mysterious†¦.† A huge quivering stillness seemed to hang over the desert. Thea's heart was beating so hard that it shook her body. What was happening? â€Å"It's like you're part of everything out here,† he said in that wise, childlike voice. â€Å"You belong to it. And there's so much peace†¦.† â€Å"No,† Thea said. There was no peace at all in her. She was terrified. She didn't know what was going on, but she knew she had to get away. â€Å"Don't go,† he said, when she shifted. He had the stricken expression of a heartbroken puppy. And then†¦ he reached for her. Not roughly. His fingers didn't close on her wrist. They just brushed the back of her hand, sliding away when she jerked. But it didn't matter. That light touch had raised all the hairs on Thea's forearm. And when she looked back into the gray-flecked green eyes, she knew he'd felt it, too. A sort of piercing sweetness, a dizzying exhilaration. And-a connection. As if something deeper than words was being communicated. I know you. I see what you see†¦. Almost without knowing what she was doing, Thea raised her hand. Fingertips slightly outspread, as if she were going to touch a mirror or a ghost. He brought his hand up, too. They were staring at each other. And then, just before then- fingers made contact, Thea felt a jolt of panic like ice water. What was she doing? Had she lost her mind? Suddenly everything was clear-too clear. Her future stretched out before her, every detail sharp. Death for breaking Night World law. Herself centered in the Inner Circle, trying to explain that she hadn't meant to betray their secrets, that she hadn't meant to†¦ to get close to a human. That it was all a mistake, just a moment of stupidity because she'd wanted to heal him. And them bringing the Cup of Death anyway. The vision was so clear it seemed like a prophecy. Thea jumped up as if the ground had lurched underneath her, and she did the only thing she could think of to do. She said scathingly, â€Å"Are you nuts? Or is your brain just overheated or something?† He got the stricken look again. He's a human. One of them, Thea reminded herself. She put even more scorn in her voice. â€Å"I'm part of everything; I did something to your leg†¦ yeah, sure. I bet you believe in Santa Claus, too.† Now he looked shocked-and uncertain. Thea went for the coup de gras. â€Å"Or were you just trying to put the moves on me?† â€Å"Huh? No,† he said. He blinked and looked around. The desert was the ordinary desert, gray-green and parched and flat. Then he looked at his leg. He blinked again, as if getting a fresh grip on reality. â€Å"I†¦ look, I'm sorry if I upset you. I don't know what's wrong with me.† Suddenly he gave a sheepish smile. â€Å"Maybe I'm kind of weird from being scared. I guess I'm not as brave as I thought.† Relief trickled through Thea. He was buying it. Thank Isis that humans were stupider than chickens. â€Å"And I wasn't trying to move in on you. I just-† He broke off. â€Å"You know, I don't even know your name.† â€Å"Thea Harman.† â€Å"I'm Eric Ross. You're new here, aren't you?† â€Å"Yes.† Stop talking and go, she ordered herself. â€Å"If I can show you around or anything†¦ I mean, I would like to see you again†¦.† â€Å"No,† Thea said flatly. She would have liked to have kept it to that monosyllable, but she wanted to crush this new idea of his completely. â€Å"I don't want to see you,† she said, too rattled to think of any more subtle way to put it. And then she turned and walked away. What else was there to do? She certainly couldn't talk to him anymore. Even if she would always wonder why he'd been crazy enough to care about the snake, she couldn't ask. From now on she had to stay as far away from him as possible. She hurried back to the school-and realized immediately that she was late. The parking lot was quiet. Nobody was walking outside the adobe buildings. On my first day, too, Thea thought. Her backpack was on the ground where she'd dropped it, a notebook lying beside it on the asphalt. She grabbed them both and all but ran to the office. It was only in physics class, after she'd handed her admission slip to the teacher and walked past rows of curious eyes to an empty seat in the back, that she realized the notebook wasn't hers. It fell open to a page that had Introduction to Flat-worms scribbled in sloping, spiky blue ink. Below were some pictures labeled Class Turbellaria and Class Trematoda. The worms were beautifully drawn, with their nervous systems and reproductive organs shaded in different colors of highlighter, but the artist had also given them big goofy smiling faces. Grotesque but lovable in a cross-eyed way. Thea turned the page and saw another drawing, the Life Cycle of the Pork Tapeworm. Yum. She leafed back to the beginning of the notebook. Eric Ross, Honors Zoology I. She shut the book. Now how was she going to get it back to him? Part of her mind worried about this through physics and her next class, computer applications. Part of it did what it always did at a new school, or any new gathering of humans: it watched and cataloged, keeping alert for danger, figuring out how to fit in. And part of it simply said, I didn't know they had a zoology class here. The one question she didn't want to ask herself was what had happened out there in the desert? Whenever the thought came up, she pushed it away brusquely. It must have had something to do with her senses being too open after merging with the snake. Anyway, it hadn't meant anything. It had been a weird one-time fluke. In the main hallway at break, Blaise came rushing up, quick as a lioness despite the high heels. â€Å"How's it going?† Thea said, as Blaise drew her into a temporarily deserted classroom. Blaise just held out her hand. Thea fished in her pocket for the carnelian. â€Å"You ruined the chain, you know,† Blaise said as she shook back midnight hair and examined the stone for damage. â€Å"And it was one I designed.† â€Å"Sorry. I was in a hurry.† â€Å"Yes, and why? What did you want with it?† Blaise didn't wait for a response. â€Å"You healed that boy, didn't you? I knew he got bitten. But he was human.† â€Å"Reverence for life, remember?† Thea said. † ‘An ye harm none, do as you will.† She didn't say it with much conviction. â€Å"That doesn't mean humans. And what did he think?† â€Å"Nothing. He didn't know I was healing him; he didn't even realize he got bitten.† It wasn't exactly a lie. Blaise looked at her with smoky, suspicious gray eyes. Then she glanced heavenward and shook her head. â€Å"Now if you'd been using it to heat his blood, I'd understand. But maybe you were doing a little of that, too†¦.† â€Å"No, I was not,† Thea said. And despite the warmth that rose in her cheeks her voice was cold and sharp. The horror of that death vision was still with her. â€Å"In fact, I don't ever want to see him again,† she went on jaggedly, â€Å"and I told him so, but I've got his stupid notebook, and I don't know what to do with it.† She waved the notebook in Blaise's face. â€Å"Oh.† Blaise considered, head on one side. â€Å"Well†¦ I'll take it to him for you. I'll track him down somehow.† â€Å"Would you?† Thea was startled. â€Å"That's really nice.† â€Å"Yes, it is,† Blaise said. She took the notebook, handling it carefully, as if her nails were wet. â€Å"Okay, well, I'd better get to my next class. Algebra.† She made a face. † ‘Bye now.† Suspicion struck as Thea watched her go. Blaise wasn't usually so accommodating. And that † ‘bye now†Ã¢â‚¬ ¦ too sweet. She was up to something. Thea followed the ruby of Blaise's shirt as Blaise went back into the main hallway, then turned without hesitation into a locker-lined corridor. There, searching through one of the lockers, was a lean figure with long legs and sandy hair. Fastest tracking I've ever seen, Thea thought sourly. She peered around the Mediterranean-blue door of a broken locker. Blaise walked up behind Eric very slowly, hips swaying. She put a hand on his back. Eric jumped slightly, then turned around. Blaise just stood there. It was all she needed to do. Blaise reeled guys in just by being. It was the glorious dark hair, the smoldering gray eyes†¦ plus a figure that could stop traffic on the freeway. Curves galore, and clothes that emphasized every one. On another girl it might have been too much, but on Blaise it was just breathtaking. Guys who thought they liked the waif look dropped everything to follow her just as fast as guys who thought they liked blonds. Eric blinked at her, looking hazy already. He didn't seem to know what to say. That wasn't unusual. Guys always got tongue-tied around Blaise. â€Å"I'm Blaise Harman.† The voice was low and liquid. â€Å"And you're†¦ Eric?† Eric nodded, still blinking. Yes, he's dazed all right, Thea thought. The jerk. She was surprised at her own vehemence. â€Å"Good, because I wouldn't want to give this to the wrong person.† Blaise produced the notebook from behind her back like a magician. â€Å"Oh-where'd you get that?† Eric looked relieved and grateful. â€Å"I've been looking everywhere.† â€Å"My cousin gave it to me,† Blaise said carelessly. She held onto the notebook as he tried to take it, and their fingers touched. â€Å"Wait. You owe me something for bringing it back, don't you?† Her voice was a purr. And now Thea knew, without a doubt, what was going to happen. Eric was doomed.