What Is Balance in Art and Why Does It Matter

Balance in art is one of the basic principles of design, along with contrast, movement, rhythm,  emphasis, pattern, unity, and variety.  Balance refers to how the elements of art (line, shape, color, value, space, form, texture) relate to each other within the composition in terms of their visual weight to create visual equilibrium. That is, one side does not seem heavier than another. In three dimensions, balance is dictated by gravity, and it is easy to tell when something is balanced or not (if not held down by some means). It falls over if it is not balanced. On a fulcrum (like a teeter-totter), one side of the object hits the ground while the other rises.  In two dimensions, artists have to rely on the  visual weight of the elements of the composition to determine whether a piece is balanced. Sculptors rely both on physical and visual weight to determine the balance.​ Humans, perhaps because we are bilaterally symmetrical, have a natural desire to seek balance and equilibrium. Artists generally strive to create artwork that is balanced. A balanced work, in which the visual weight is distributed evenly across the composition, seems stable, makes the viewer feel comfortable,  and is  pleasing to the eye. A work that is unbalanced appears unstable, creates tension, and makes the viewer uneasy. Sometimes, an artist deliberately creates a work that is unbalanced. Isamu Noguchis (1904-1988) sculpture Red Cube  is an example of a sculpture that  intentionally looks off balance.  The red cube is  precariously resting  on a point, contrasting with the gray, solid, stable buildings around it, and it creates a feeling of tension and apprehension.   Types of Balance There are three main  types of balance that are used in art and design: symmetrical, asymmetrical, and radial. Symmetrical balance, which includes radial symmetry, repeats patterns of forms systematically. Asymmetrical balance counterbalances different elements that have equal visual weight or equal physical and visual weight in a three-dimensional structure. Asymmetrical balance is based more on the artists intuition than on a formulaic process. Symmetrical Balance Symmetrical balance is when both sides of a piece are equal; that is, they are identical or almost identical. Symmetrical balance can be established by drawing an imaginary line through the center of the work, either horizontally or vertically, and making each half identically or very visually similar. This kind of balance creates a sense of order, stability, rationality, solemnity, and formality. Symmetrical balance is often used in institutional architecture (government buildings, libraries, colleges, and universities) and religious art. Symmetrical balance may be a mirror image (an exact copy of the other side) or it may be approximate, with the two sides having slight variations but being quite similar. Symmetry around a central axis is called  bilateral symmetry. The axis may be vertical or horizontal. The Last Supper by Italian Renaissance painter Leonardo da Vinci  (1452-1519) is one of the best well-known examples of an artists creative use of symmetrical balance. Da Vinci uses the compositional device of symmetrical balance and linear perspective to stress the importance of the central figure, Jesus Christ. There is slight variation among the figures themselves, but there is the same number of figures on either side and they are situated along the same horizontal axis. Op art is a kind of art that sometimes employs symmetrical balance biaxially — that is, with symmetry corresponding to both the vertical and horizontal axis. Crystallographic balance, which finds harmony in repetition (such as color or shape), is often quite symmetrical. Its also called mosaic balance or all-over balance. Think of works by Andy Warhol with repeating elements, the Parlophone Hard Days Night album cover by The Beatles, or even wallpaper patterns. Radial Symmetry Radial symmetry is a variation of symmetrical balance in which the elements are arranged equally around a central point, as in the spokes of a wheel or the ripples made in a pond where a stone is dropped. Thus, radial symmetry has a strong focal point. Radial symmetry is often seen in nature, as in the  petals of a tulip, the seeds of a dandelion, or in  certain  marine life,  such as jellyfish. It is also seen in religious art and sacred geometry, as in mandalas, and in contemporary art, as in Target With Four Faces (1955) by the American painter Jasper Johns. Asymmetrical Balance In asymmetrical balance, the two sides of a composition  are not the same but appear to have an equal visual weight nonetheless. Negative and positive shapes are unequal and unevenly distributed throughout the artwork, leading the viewers eye through the piece. Asymmetrical balance is a bit more difficult to achieve than symmetrical balance because each element of art has its own visual weight relative to the other elements and affects the whole composition.  Ã‚   For example, asymmetrical balance can occur when several smaller items on one side are balanced by a large item on the other side, or when smaller elements are placed farther away from the center of the composition  than larger elements. A dark shape can be balanced by several lighter shapes. Asymmetrical balance is less formal and more dynamic than symmetrical balance. It may  appear more casual but takes careful planning. An example of asymmetrical balance is Vincent van Goghs The Starry Night (1889). The dark triangular shape of the trees visually anchoring the left side of the painting is counterbalanced by the yellow circle of the moon in the upper right corner. The Boating Party, by American artist Mary Cassatt (1844–1926), is another dynamic example of asymmetrical balance, with the dark figure in the foreground (lower right-hand corner) balanced by the lighter figures and particularly the light sail in the upper left-hand corner.   How the Elements of Art Influence Balance When creating an artwork, artists keep in mind that certain elements and characteristics have greater visual weight than others. In general, the following guidelines apply, although each composition is different and the elements within a composition always behave in relation to the other elements. Color Colors have three main characteristics (value, saturation, and hue) that affect their visual weight.  Transparency can also come into play. Value: Darker colors seem visually heavier in weight than lighter colors. Black is the darkest color and the heaviest weight visually, while white is the lightest color and the lightest weight visually.  However, the size of the shape matters, too. For example, a smaller, darker shape can be balanced by a larger, lighter shape.  Saturation: More saturated colors (more intense) are visually heavier than more neutral (duller) colors. A color can be made less intense by mixing it with its opposite on the color wheel.Hue: Warm colors (yellow, orange, and red) have more visual weight than cool colors (blue, green, and purple).Transparency: Opaque areas have more visual weight than transparent areas. Shape   Squares tend to have more visual weight than circles, and more complex shapes (trapezoids, hexagons, and pentagons) tend to have more visual weight than simpler shapes (circles, squares, and ovals)The size of the shape is very important; larger shapes are heavier visually than smaller shapes, but a group of small shapes can equal the weight of a large shape visually. Line Thick lines have more weight than thin lines. Texture A  shape or form with texture has more weight than one that is not textured. Placement Shapes or objects located toward the edge or corner of the composition have more visual weight and will offset visually heavy elements within the composition.  Foreground and background can balance each other.Items can also balance each other along a diagonal axis, not just vertical or horizontal. Any type of contrast can be employed in the striving for balance: still vs. moving, smooth vs. rough, wide vs. narrow, and on and on. Balance is an important principle to heed, for it communicates so much about a work of art and can contribute to the overall effect, making a composition dynamic and lively or restful and calm. Sources 5 Famous Op-Artists. Weebly. Andy Warhol. Weiner Elementary School. Beatles, The. A Hard Days Night. 2009 Digital Remaster, Enhanced, Remastered, Digipack, Limited Edition, Capitol, September 8, 2009. Biography. The Noguchi Museum, NY. Red Cube, 1968. New York City Public Art Curriculum. Target with Four Faces: Gallery Label. The Museum of Modern Art, 2009, NY. The Boating Party: Overview. National Gallery of Art, 2018. The Starry Night: Galley Label. The Museum of Modern Art, 2011, NY.

Baseball Stats Free Essays

Appendix Data Set Howell and Huessy (1985) reported on a study of 386 children who had, and had not, exhibited symptoms of attention deficit disorder (ADD)—previously known as hyperkinesis or minimal brain dysfunction—during childhood. In 1965 teachers of all second-grade school children in a number of schools in northwestern Vermont were asked to complete a questionnaire for each of their students dealing with behaviors commonly associated with ADD. Questionnaires on these same children were again completed when the children were in the fourth and fifth grades and, for purposes of this data set only, those three scores were averaged to produce a score labeled ADDSC. We will write a custom essay sample on Baseball Stats or any similar topic only for you Order Now The higher the score, the more ADD-like behaviors the child exhibited. At the end of ninth grade and again at the end of twelfth grade, information on the performances of these children was obtained from school records. These data offer the opportunity to examine questions about whether later behavior can be predicted from earlier behavior and to examine academically related variables and their interrelationships. A description of each variable follows. †¢ ADDSCAverage of three ADD-like behavior scores †¢ GENDER1 = male; 2 = female †¢ REPEAT1 = repeated at least one grade; 0 = did not repeat †¢ IQIQ obtained from a group-administered IQ test †¢ ENGLLevel of English in 9th grade: 1 = college prep; 2 = general; 3 = remedial †¢ ENGGGrade in English in 9th grade: 4 = A, etc. †¢ GPAGrade point average in 9th grade †¢ SOCPROBSocial problems in 9th grad: 1 = yes; 0 – no †¢ DROPOUT1 = dropped out before completing high school; 0 = did not drop out The data are available at http://www. uvm. du/~dhowell/fundamentals7/DataFiles/Add. dat ASRIEEGSD DEEQ NN P0R DX PGG AC O S EL G PP C A RO TOU BT 45 10111232. 6000 5010102232. 7500 4910108244. 0000 5510109222. 2500 3910118233. 0000 6811 79221. 6701 6911 88222. 2511 5610102243. 4000 5810105311. 3300 4810 92243. 5000 3410131243. 7500 5020104132. 6700 8510 83232. 7510 4910 84222. 0000 5110 85232. 7500 5310110222. 5000 3620121143. 5500 6220120232. 7500 4620100243. 5000 5020 94222. 7511 4720 89123. 000 5020 93243. 2500 4420128243. 3000 5020 84232. 7500 2920127143. 7500 4920106232. 7500 2610137233. 0000 8511 82321. 7511 5310106232. 7510 5310109221. 3300 7210 91220. 6700 3510111222. 2500 4210105221. 7500 3710118243. 2500 4610103321. 7500 4810101133. 0000 4610101333. 0000 4911 95233. 0000 6511108233. 2500 5210 95332. 2510 7511 98211. 0001 5810 82232. 5001 4320100133. 0000 6020100232. 4000 4310107122. 0000 5110 95222. 7500 7011 97232. 6711 6911 93222. 0000 6511 81122. 0000 6320 8922 1. 6700 4420111243. 0000 6121 95211. 5001 4020106243. 7500 6220 83310. 6700 5910 81221. 000 4720115144. 0000 5020112233. 0000 5020 92232. 3300 6520 85221. 7500 5420 95323. 0000 4420115243. 7500 6620 91242. 6711 3420107143. 5000 7420102200. 6700 5721 86332. 2500 6020 96133. 0010 3620114233. 5000 5010105221. 7500 6010 82211. 0000 4510120233. 0000 5510 88211. 0001 4410 90132. 5000 5720 85232. 5000 3320106143. 7500 3020109143. 5000 6410 75321. 0010 4911 91232. 2500 7610 96221. 0000 4010108232. 5000 4810 86232. 7500 6510 98220. 7500 5010 99221. 3000 7010 95211. 2500 7810 88331. 5000 4410111223. 0000 4810103212. 0000 5210107222. 0000 4010118222. 5000 How to cite Baseball Stats, Papers

Role of Jocasta in Oedipus the King Essay Example

Role of Jocasta in Oedipus the King Paper The tragedy of Oedipus the King is among the worlds best known stories. Nis determination to know the truth of things, and his evident belief in the power of the individual to affect the world inspire both respect and pity. His wife and mother, Jocasta, seems almost a shadowy figure beside him. Certainly, she is less understood. Yet she, too, is worth of admiration should inspire both admiration and fear. For, like Oedipus himself, this essentiall pragmatic and courageous woman (1) is lead to her ate not by blasphemy,(2) but by a love for her husband (3a) that is greater than her concern for anything, including herself. (3b) Like Oedipus, Jocasta seems both pragmatic and determined to deal with the truth. She enters the drama from her home, and seems to have little patience for male posturing, ordering then to, Get back home, sir, you and Creon you/into your house. (35) But her concern here is not to conceal. When she is convinced sees that her husband is visibly upset by his encounters, she immediately announces that, l stay to know. (38) When Oedipus explains that Creon has attempted to lay the guilt for Laiuss death on him, she responds not with horror or by dismissing the idea, but by asking if Creons suspicions are based on, His own invention or on evidence? She is pragmatic, and not apparently afraid of truth. Indeed, even after Oedipus reveals that her reassurances about the death of Laius have shattered peace, and as he says, struck at my very soul (40) she continues to answer his questions concerning the old kings death. We will write a custom essay sample on Role of Jocasta in Oedipus the King specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Role of Jocasta in Oedipus the King specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Role of Jocasta in Oedipus the King specifically for you FOR ONLY $16.38 $13.9/page Hire Writer She is concerned, even as she admits frightened, asking, Why Oedipus, what nightmare thought has touched you now? (41) Yet she still furnishes the details he demands, describing Laiuss looks and the numbers in his procession. Whatever her worries may be, she does not conceal or in any way deviate from honesty at this point. It would be incorrect to dismiss In fact, it is this respect for fact and for the truth that makes it impossible to dismiss Jocasta as someone who has no respect ofr the gods. Her first reference to the gods is not dismissive far from it. She accepts Creons oath of innocence because it was sworn by all the gods. She acknowledges the power of the gods when she returns from an unsuccessful attempt to calm Oedipus down, saying, l address/myself to you Apollo, whose Lycean shrine/is nearest to these rites and prayers. (49) And yet, when she finishes telling Oedipus the story of the death of Laius, she concludes, So there! Apollo fails to make his son/ his fathers murderer. (40) However, this is not a repudiation of the gods themselves. It is a refusal to accept prophecies as absolute. It is only when she is told that her husbands state of mind is the result of the words of Tiresius that she ecomes dismissive, even contemptuous. In other words, She is not dismissing the god she IS dismissing the idea of oracles, oracles delivered by men, or the idea that an oracle reveals something that is inevitable. And, like the pragmatic woman she is, an oracle that she fully and logically believes was wrong. She is not concerned does not even consider his guilt in the murder of Laius, or about his oracle coming true, only that rampant fancies in a legion raid/the mind of Oedipus. (48) Of greater importance to her, however, than fact and the truth of prophecy Living s she does in an age that accepts the idea of fate, this insistence on fact and the dismissal of oracles might still seem arrogant, but it quickly becomes clear that Jocastas main concern is the happiness of her husband. We need to remember that the main concern of Oedipus is the fact that he might turn out to be the murderer of Laius, and therefore, the cause of the citys agony. She, however, correctly perceives that part of his uncertainty lies in his fear of the oracle that sent him fleeing from Corinth. In her response to his assertion that the verdict tilts to heavily to me (46), he attempts to answer both his fears: Rest assured; his account was that, exactly that, He cannot cancel what he said. The whole town heard, not I alone. And even if he tries to change a word, he still can never make Oh surely, King! the death of Laius tally with the oracle, which said it had to happen through a son of mine poor nbabe, who never killed a thing but himself was killed Oh long before! After this, Ill never change my look from left to right to suit a prophecy. The first part of her response is obviously aimed at calming Oedipus fears that he ight have killed Laius. But the second part is Just as obviously aimed at calming and even repudiating the concern that has dominated his life in the years leading up to this day, a concern that neither sees as having any effect of the here and now sufferings of Thebes. When he persists in his fears, she says, But let us go indoors. All my care is you, and all my pleasure yours. Again, her intention is to calm him, soothe him, herhaps even seduce him away from his worries. She is clearly a loyal wife, in love with and concerned for her husband and his peace of mind. Her eemingly blasphemous assertion, How dwindled are the grand predictions of Apollo. , (51) and her almost exultant reaction to the news of the death of Polybus This is the man that Oedipus was terrified to kill, so fled;/And now, without the slightest push from him, hes dead. P. 50 have nothing to do with the tribulations of Thebes. They refer only to the Corinthian oracle that she now realizes drove her husband away from parents and a city that he loved. Jocastas concern for Oedipus is all consuming, greater not only than her concern for Thebes, but even greater than her concern for herself. The former is already obvious. The latter becomes clear when the messenger continues his happy story, revealing to Oedipus the truth of his birth. Jocastas response is silent. She goes pale, she covers her face, and she stands, transfixed, now aware that she has fathered are true. She cannot change this. She is guilty of the greatest of sins. Yet she does not rush to kill herself . Instead, she turns to her husband, crying at him to Forget it all. Its not worth knowing. (58) When he persists, so does she: Im pleading for whats best for you. (59) And when it becomes clear that he will not listen and that he will persist in his search for the truth, her response is almost a prayer: God help you, Oedipus! Hide it from you who you are. Her concern again is not for herself. It is all for him. She does not attack oracles anymore. She does not answer questions or react pragmatically. She only urges him to stop the search, thereby trying to spare him the horror that she faces. Shattered in her own soul, her concern is only for his. It is only when she realizes that she cannot stop him that she turns away and rushes to her own death. Jocasta is no simple lover of power, no blasphemer, and no plotter. She is first and foremost a woman to whom love is all. Oedipus falls on a far grander scale, suffering because he attempted to stop the sufferings of an entire city, because he dared to place humankind at a level nearly equal to that of gods. Jocasta falls more domestically, placing the heart above the mind and her husband before herself. His disgrace in the city streets appalls us. But we will not be rulers. Her death upon the marriage bed is closer to our own lives, and should move us even more.

An Evaluation of the Relevance and Utility of Lean Manufacturing Approach to the Pharmaceutical Supply Chain The WritePass Journal

An Evaluation of the Relevance and Utility of Lean Manufacturing Approach to the Pharmaceutical Supply Chain Introduction An Evaluation of the Relevance and Utility of Lean Manufacturing Approach to the Pharmaceutical Supply Chain : 113), the principles of Lean manufacturing are â€Å"customer value, value stream analysis, demand pull, continuous flow, and waste elimination.†   The purpose of a Lean supply chain network is to bring the lowest cost in differential customer value, which can be met through collaborative priorities in demand, real-time information on markets, and logistics delivery efficiencies, to name a few. The concept of networks of supply chain partners suggests that the success of companies is through their constant origination from new networks of supply chain partners in order to meet certain objectives. As a general rule, these constantly developing networks can act in response to the dynamic characteristic of customer demand (Sople 2012). The manufacturing function must not be the only domain to which Lean principles must be applied. Rather, it must also be applied across organisations in the supply chain to decrease the wastes usually associated with supply chain operations. Th e full benefit of Lean manufacturing and supply chain management necessitates that the scope of Lean implementations must go beyond a single function and must be structured as a part of managing relationships with customers and suppliers (Lambert 2008). It may therefore be analysed that with the adoption of Lean techniques, the management is tasked to align corporate activities with Lean manufacturing in supply chain management across organisational functions. Lean thinking also allows the organisation to direct business relationships with customers and suppliers. Application of Lean Principles Lean thinking is apparently applicable to pharmaceutical development and manufacturing (Wigglesworth and Wood, 2012). Lambert (2008) states that whilst the various material flows as well as flows of goods and information are the focus of Lean supply chain operations, Lean application to the management of supply chains is further from the physical flows of inventory. It also takes account of the entirety of the business relationship amongst firms. When a firm applies Lean manufacturing concepts to its supply chain management, it begins to focus on value drivers; revenue development; asset efficiency, and reductions in cost, inventory, and working capital. All of these are apparently beneficial to an organisation. Applying Lean thinking to supply chain management is very likely since both of them share commonalities, such as long-term perspectives, value and customer creation; systems view; and structured business relationships;   Ã‚  amongst others (Lambert 2008). These commonalities indicate how much Lean thinking and supply chain management lend to each other. Based on this, one can conclude that Lean approaches are aligned to supply chain management and that the two are generally not in contrast with each other. Potential advantages of Lean approach to managing quality and efficiency in the pharmaceutical industry One of the potential advantages of Lean approach in the pharmaceutical industry is the reduction of cost of goods in pharmaceutical development and manufacturing. The implementation of Lean thinking can be carried out by developing workflows and infrastructures to reduce inventories (Ende 2011), which are in fact a target of quality and efficiency efforts within pharmaceutical companies. The concept of continuous manufacturing in pharmaceutical companies deals with the challenge of overproduction, which leads to surplus inventory and longer cycle teams. These are the focus of efficiency on which pharmaceutical companies must be engaged. Its significance is seen in the fact that   excess inventory is considered the greatest waste because it brings upon itself certain costs related to the management, storage, and transport of inventories adding to the waste (Schneider 2010). Therefore, when Lean techniques are used, such wastes are reduced, if not totally eliminated within the pharma ceutical firm. Novartis and H. Lundbeck case studies Novartis is one of the world’s largest pharmaceutical firms (Abreau 2013). The upstream part of its supply chain indicates flow of information and full visibility. Novartis uses product-to-demand technique based on demand, whereby its daily variable demand stream is integrated to production (AMR Research 2006). Between its levels of supply chain are limited visibility and flow of information (Abreau 2013). Despite being ranked number 2 behind Pfizer in cost of goods sold in 2006, Novartis decided to take on Lean principles and become the â€Å"Toyota of pharmaceuticals.† Using Lean principles, the company is focused on reducing its cycle time to 70 per cent and reducing spending by 40 per cent, as well as pursuing continuous manufacturing with raw materials going in one end of the chain and finished products coming out the other (AMR Research 2007). Along with this is the reengineering of every process and role, leveraging information technology, and setting up process-oriented teams in the absence of first-line supervisors so that personnel would report directly to one team leader (Shanley 2004). Here, one can see the application of Lean techniques to Novartis’ supply chain, thereby helping the company to improve its internal processes and eliminate waste. Lundbeck, on the other hand, is an international pharmaceutical firm that began its Lean adoption in 2005. The company went through certain phases in its Lean adoption, such as building consensus in the management group and running a range of Lean events and building a culture around these events. In the first phase, Lundbeck implemented 40 Lean events assisted by external experts, followed by 70 to 80 Lean events each year, with all personnel in the supply chain being involved (Simpler Consulting 2010). Through its adoption of Lean principles in its supply chain, the company was able to cut costs by 25 per cent. Workflow analysis within the organisation is also aided by video cameras, which leads to further improvements. Part of its Lean techniques adoption is the use of large bags instead of small box packaging, which reduced production delays from four hours to only an hour (Miller 2012). Is Lean appropriate to the pharmaceutical supply chain? Yes, Lean techniques are appropriate to the pharmaceutical supply chain. Despite Lean thinking’s origination from Toyota manufacturing, its adoption is still suitable to the pharmaceutical industry. In fact, its applicability is seen in the number of pharmaceutical companies that continue to adopt Lean manufacturing techniques. Although many of these techniques cannot be taken on to the more complex pharmaceutical manufacturing plants, their adoption mirrors the pursuit of increased optimisation (Shanley 200). Boyer and Verma (2010) surmise that whilst the original focus of developing Lean thinking is the manufacture of automobiles, it can still be applied to other industries. This is because Lean approach is more than a set of techniques but is a mindset for all personnel and managers who are focused on waste elimination and reduction of variability in the entirety of the business process. The advantage of Lean’s adoption in the pharmaceutical industry is the ability of pharmaceutical companies to experience logical rhythm through the supply chain. With the Lean enterprise, adaptive supply chain is carried out, causing the whole organisation to possess real-time process visualisation (Hafeli 2006).    Argument for agility in the pharmaceutical supply chain Pharmaceutical companies are inclined to be bureaucratic, which results in several wastes in internal processes. With the application of Lean principles, pharmaceutical companies are able to strengthen their relative agility (Radeka 2013).   This would mean that despite the relative limitation of the application of Lean principles in the pharmaceutical supply chain as pointed by WCI Consulting Limited (2011), the result is still improved agility in the supply chain. Apparently, the need for agility in supply chain management is founded on decreasing product life cycles and demand patterns of increasingly volatile markets. Sweeney (2009) points out that Lean is not enough, that agility in supply chain is required because of emphasis on speed, with time being a major competitive weapon. This argument is reasonable given the rapidly changing market in which pharmaceutical companies operate. However, as emphasised above, Lean thinking is also applicable to the pharmaceutical industry. An argument arising about the adoption of Lean thinking in the pharmaceutical industry is the risk that goes with it. Such adoption is said to put the supply chain to increased vulnerability to disruptions and unpredictable events due to lack of slack on which to withdraw. With Lean techniques making the supply chain vulnerable, a question that may come up is whether this would mean Lean is not suitable at all. The answer is pharmaceutical companies can apply Lean techniques to cut costs and adopt agility in order to obtain supply chain resilience, as pointed out by WCI Consulting Limited (2011).    Conclusion This paper provides a critical analysis of the relevance and utility of Lean techniques in the pharmaceutical supply chain. Lean thinking allows the elimination of wastes and cost reduction in pharmaceutical companies. Lean supply chain considers the entirety of the business relationship amongst firms. Reduced costs of goods and reduced inventories are the potential advantages of Lean approach in the pharmaceutical industry. Novartis and Lundbeck case studies provide an example where Lean techniques and supply chain management become integrated. Despite the effectiveness of agility in supply chain management, Lean cannot be set aside as a valuable tool.                      References Abreau, P. E. M. (2013) An ANP Model to Support Decision-Making in a Portuguese Pharmaceutical Supply Chain. Reterived on March 22, 2014 from http://run.unl.pt/bitstream/10362/10724/1/Abreu_2013.pdf AMR Research (2006) Supply Chain Saves the World. US: AMR Research, Inc. AMR Research (2007) Risk!: Navigating an Uncertain World. US: AMR Research Inc. Boyer, K. and Verma, R. (2010) Operations and Supply Chain Management for the 21st Century. First Edition. Mason, OH: South-Western, Cengage Learning. Ende, D. J. (2011) Chemical Engineering in the Pharmaceutical Industry: RD to Manufacturing. New Jersey: John Wiley Sons. Hafeli, R. (2006) Enabling Lean and Compliant Manufacturing at Novartis with SAP. Denver: SAP Adaptive Manufacturing Summit, September 28. Lambert, D. M. (2008) Supply Chain Management: Processes, Partnerships, Performance. Sarasota, FL: Supply Chain Management Institute. Miller, G. (2012) Lean Earns Lundbeck Big Prize, Cost Cuts. Retrieved on March 22, 2014 from fiercepharmamanufacturing.com/story/lean-earns-lundbeck-big-prize-cost-cuts/2012-01-18 Radeka, K. (2013) The Mastery of Innovation: A Field Guide to Lean Product Development. NW: CRC Press. Schneider, O. (2010) Adding Enterprise Value: Mitigating Investment Decision Risks by Assessing the Economic Value of Supply Chain Initiatives. Zurich: vdf Hochshulverlag AG Shanley, A. (2004) Novartis Goes Lean. Retrieved on March 22, 2014 from pharmamanufacturing.com/articles/2004/111/ Simpler Consulting (2010) Lean Management of the Pharmaceutical Sector Brings Increased Efficiency and Improved Quality While Increasing Profits. Retrieved on March 22, 2014 from simpler.com/success-stories/Lundbeck_Case-Study.pdf Sople, V. V. (2012) Supply Chain Management: Text and Cases. New Delhi: Dorling Kindersley Pvt. Ltd. Sweeney, E. (2009) Lean, Agile and Resilient Pharmaceutical Supply Chains: Jargon or Action? Irish Pharmachem Buyers Guide (September), 38-39. WCI Consulting Limited (2011) Keeping the Supply Chain Agile. Retrieved on March 22, 2014 from wcigroup.com/Nostrapharmus/Keeping%20the%20supply%20chain%20agile.pdf Wigglesworth, M. and Wood, T. (2012) Management of Chemical and Biological Samples for Screening Applications. Germany: Wiley-VCH Verlag Co.

Texas AM Galveston Admissions Information

Texas AM Galveston Admissions Information Texas AM University at Galveston is a branch campus of Texas AM University focused on marine and maritime studies. It is a selective school, admitting 55 percent of applicants. The 135-acre suburban campuss main location is on Pelican Island, along the coast of the Gulf of Mexico. The university is nearby several of Galveston’s popular beaches and is 50 miles northeast of Houston. It is also home to the Texas Maritime Academy, one of six American maritime academies that prepare future officers of the American Merchant Marines, Academically, Texas AM Galveston has a 15 to 1 student faculty ratio and offers ten undergraduate and three graduate degree programs within the field of marine and maritime studies. Marine biology and marine transportation are two of the most popular areas of study. Students are actively involved on campus, with 27 clubs and organizations and 13 professional organizations for students. The university has several men’s and women’s intramural sports teams and competes in varsity sailing and crew. Admissions Data (2015) Texas AM Galveston Acceptance Rate: 55 percentTest Scores: 25th / 75th PercentileSAT Critical Reading: 500 / 590SAT Math: 520 / 610What these SAT numbers meanACT Composite: 22 / 26ACT English: 21 / 25ACT Math: 22 / 27What these ACT numbers mean Enrollment (2016) Total Enrollment: 1,942 undergraduatesGender Breakdown: 61 percent male / 39 percent female92 percent full-time Costs (2016-17) Tuition and Fees: $10,868 (in-state); $25,618 (out-of-state)Books: $1,054 (why so much?)Room and Board: $13,168Other Expenses: $2,596Total Cost (includes travel expenses): $30,696 (in-state); $46,336 (out-of-state) Texas AM University at Galveston Financial Aid More current data not available, but these figures are from 2011-12. Percentage of New Students Receiving Aid: 61 percentPercentage of New Students Receiving Types of AidGrants: 39 percentLoans: 42 percentAverage Amount of AidGrants: $6,096Loans: $6,434 Transfer, Graduation and Retention Rates: First Year Student Retention (full-time students): 45 percentTransfer Out Rate: 57 percent4-Year Graduation Rate: 19 percent6-Year Graduation Rate: 30 percent Texas AM University at Galveston Mission Statement: mission statement from tamug.edu/about/ Texas AM University at Galveston is a special-purpose institution of higher education for undergraduate and graduate instruction in marine and maritime studies in science, engineering and business and for research and public service related to the general field of marine resources. The institution is under the management and control of the Board of Regents of The Texas AM University System, with degrees offered under the name and authority of Texas AM University at College Station. Data Source: National Center for Educational Statistics

Origins and influence of Cumbia on the Colombian culture Research Paper

Origins and influence of Cumbia on the Colombian culture - Research Paper Example The Cumbia dance and song is a symbol of Colombian culture around the globe (Dimartio, 1999 p26). This is because Cumbia dance has strong links to the history of the Colombian people and for generations, acted as a melting point for numerous Colombian cultures that defines the national identity of the nation (Wade, 2008 p109). Cumbia can be traced to music and dance that reflected the social lives of the countries of origins of African slaves brought to Colombia by the Spaniards to work on the plantations. The African slaves created Cumbia as the only form of entertainment that they had to ease the unpleasant and harsh nature of work as a slave in the Americas (Rosa & Neciosup, 2008 p59). Up until the 1930s, Cumbia was only known in Colombia (Dimartio, 1999 p26). It was performed by a few professional groups that toured the Colombian countryside and was also performed by gifted musicians who lived in the various villages. These gifted musicians were preserving a tradition that was handed down to them by their ancestors. Aside the African influence, there is clear evidence of Spanish influence in Cumbia. Most Cumbian songs are sang in Spanish and the costumes used by the main, like the hat, pants, shirts and dresses are sewn according to Spanish standards. They reflect the main cultural trends of the dresscode of Spanish America. There is also a strong Amerindian influence in the dance and some of the instruments used in the dance of Cumbia. All these observations were made after watching the Xiomara dance video and the Ballet Esmeraldas group perform. The purpose of the research is to identify the origins and manifestation of Cumbia. It examines the components of Cumbia and how it developed. It goes further to identify why it forms an important part of Colombian culture. The study was motivated by the fact that the Colombian community is New York is large and quite influential. In spite of their dominance as a great part of the New York society, many people with stereotypes view Colombia and Colombi an with a very negative attitude. However, in spite of this, the Colombian people live very respectable lives all over the United States and a vast majority of them work very hard and contribute to the building of the American economy through various decent jobs. Thus in a Hispanic classroom, it is important to dispell some of these false information and visions about the Colombian culture and teach students some of the important aspects of their native cultures and traditions that can inspire heroic and positive attachments to these cultures. So as part of this project, I hope to uncover important elements of the Colombian culture and history that can help in the quest to get the average student to understand and appreciate other important aspect of Colombian culture that are often not discussed. This research therefore attempts to examine some of the distinct elements of the Colombian culture that makes them different from everyone else. It is interesting to note that Cumbia refle cts the complex history of Colombia and brings out the socio-cultural insights of the Colombian people. It debunks modern views of Colombia and has taught me a lot about the Colombian people which I will not have known, aside the stereotypes I grew up learning about the

What does Buctler and Hamnett's (2011) study add to our understanding Literature review

What does Buctler and Hamnett's (2011) study add to our understanding of ethnic minority aspirations for social mobility in the 'new East End' - Literature review Example The aspiration that the ethnic minority had in mind was to move from the low class to the middle class. This is because they lacked the social mobility (Grusky, Ku and SzeleÃŒ nyi 2008). This paper is going to analyze what Buctler and Hamnetts (2011) study add to the understanding of ethnic minority aspirations for social mobility in the new East End. London is among the global city that is leading in the whole world. This is because of the position that it takes, the financial flow and migration that takes place on the two end sides of the labor market at the top and the bottom (Butler and Hamnett 2011). On one, hand, there are those workers that are highly paid and those that are poorly paid. For example, those that are highly paid came from US, France, Germany, Japan, China, on the other hand, the less skilled are the large masses from Africa and Asia. Those in good living environment with wealth are the whites while the rest are non-white. During these periods, there has been great de-industrialization, which has shaped East End dramatically (Grusky, Ku and SzeleÃŒ nyi 2008). There has been a prominent social division in East End and the West End in terms of races. The east was made of the poor and deprived ethnic minority. While, on the other hand, the west was full of wealth and power. The people on the west end were mostly the whites. With the development of the docks in the nineteenth century the working class of individuals became much established than the previous centuries (Harvey 2005). East End had been an abiding area for the whites who are in the working class. They had a tight social link that was on the basis of kinship and class. But as the transformation transpired more began to suburbanize out to areas like Woodford and other areas elsewhere. East End remained to retain the old traditional characters (Harvey 2005). The dramatic