A Constitutional and Human Rights Violation essayEssay Writing Service

A Constitutional and Human Rights Violation essayEssay Writing Service A Constitutional and Human Rights Violation essay A Constitutional and Human Rights Violation essayEffective control over the rights of every human being is one of the most important tasks of government agencies as well as public associations. There is no doubt that public control should be based on the provisions of the U.S. Constitution that protects people’s basic rights and freedoms.Speaking about the rights guaranteed to prisoners, it is possible to say that federal and state laws greatly maintain the administration of prisons and the rights of prisoners. Despite the fact that prisoners do not possess full Constitutional rights, they are protected by the U.S. Constitution and are prohibited from being punished in a savage and unusual manner. Indeed, ‘prisons are obligated to provide for prisoners’ health and medical treatment under the Constitution’s prohibition on cruel and unusual punishment under the Eighth Amendment as well as under international human rights law’ (Sichel 224). The protecti on means that all the prisoners should be afforded a minimum standard of living. In addition, prisoners are obligated to have some other Constitutional rights, such as due process and a legal right of access to the parole process. All in all, prisoners are protected against unequal treatment based on race, sex, ethnicity, and other personal characteristics since all ‘persons under any form of detention or imprisonment shall be treated in a humane manner and with respect for the inherent dignity of the human person’ (Sichel 252).In contrast, some of the rights afforded to students can include as follows: the right to free speech and association, to effective teaching, to adherence to class syllabi, to due process, safety and privacy, and some other constitutional rights. Students’ rights are more protected by the constitution. However, there are some certain rights afforded to prisoners many students wish they had. For instance, it can be the right to be free from cruel punishment that means the use of ungrounded force against a person.The study of most difficult types of offenders for the corrections system is still an ever-changing field of research. To date, there are many difficult types of offenders, who commit crimes against a variety of victims. However, the three most difficult types of offenders for the corrections system include sex offenders, mentally disordered offenders, and female offenders. There is no doubt that there are many different problems administrators face when dealing with each type of offender. For instance, female offenders present a significant fraction of the crime perpetrated in the community. Female killers who break the law reveal violent behaviors. Indeed, treatment of female offenders presents a number of serious challenges since sometimes it is difficult to recognize the reason for criminal activities. As for the mentally disordered offenders, it is possible to say that those are individuals who has a disa bility of the mind and has committed a criminal offence. For corrections, it is difficult to deal with those offenders because in some cases the individual may have become depressed by the fact that his conduct has been disclosed.In fact, male sex offenders present the greatest challenge for correctional since no crimes cause the same degree of people’s concern as do sexual crimes. Offending is a very serious problem with a traumatizing effect on victims. As a result, correctional systems should pay specific attention to these particular offenders, provide adequate treatment for sex abusers (e.g. cognitive-behavioral therapy), and thus make all the possible efforts to deal with those crimes.In conclusion, despite many difficulties administrators face when dealing with each type of offender, it is important to take all the possible measures to deal and overcome those offences in a proper way.

Gore and Florida essays

Gore and Florida essays November 7, 2000. Over a hundred million people turned out to vote for our nations president. The election was decided by 537. Twenty-five controversial electoral votes were given to George Bush, and thus giving him the presidency. I am here to inform that there is statistical evidence that shows Al Gore won the state of Florida, in turn making him our 43rd president of the United States of America. Although there are numerous studies, that haven proven the statement that Al Gore actually received more votes in Florida, there are two that I would like to focus on. One is a statistical analysis done by the Miami Herald and the other is a physical count of the uncertified ballots done by the National Opinion Research Center. The first analysis was done by non-partisan newspaper, The Miami Herald. After the election, the Miami Herald spent thirteen months on a study to see who the outright winner of the state and therefore the winner of the presidency. The outcome was astonishing. The Miami Herald reported that under a fair, full and accurate count of the ballots, Al Gore would have won the state by 23,000 votes. This report was conducted by statistically analyzing the voting behaviors of the 5,885 precincts in the state of Florida as well as analyzing the several categories of disputed votes. These categories included illegal solicitation of absentee voters, illegally duplicated votes, the confusing ballots of Palm Beach, overseas ballots and illegal votes by felons. Stephen Diog, at statistics professor at Arizona State University and head of the study, found through extensive research that Gore would receive 117,000 more votes, while Bush would only receive 75,000 more. Keep in mind that this was a conservative estimate, meaning Bush most likely received fewer votes. Pollsters and statisticians from around the country have all called this study very reasonable. ...

Business plan Assignment Example | Topics and Well Written Essays - 1500 words - 2

Business plan - Assignment Example Our exclusive patent pending oven provides the required high temperature baking environment for our pizza to develop the gourmet flavor profile, aroma, and level of caramelization that only a high temperature brick oven can provide. All our pies use the best natural ingredients, such as whole wheat in our flour blend and a 24 hour cold natural wild yeast fermenting process for our sourdough pizza dough utilizing our exclusive wild yeast sourdough starter. We also make our special recipe pizza sauce everyday fresh, using the best plum tomatoes from Italy and California and our pies use a special 4-cheese blend featuring, premium Provolone, Mozzarella, Muenster and genuine Italian Pecorino Romano cheese. Only a few high end pizza parlors in the United States actually use a real high temperature brick oven due to many operational factors, such as their huge size and weight, high purchase and operational costs. Quick Pizza has designed a fully equipped mobile Neapolitan style pizza parlor that incorporates three of our modular, lightweight, extremely efficient, high temperature patent pending gas hybrid brick ovens in a small custom designed modular pizzeria, all inside a 5’ x 6’ footprint trailer. The custom oven design of the exclusive pizza oven allow each unit to reach internal temperatures of over 1000F, while maintaining a extremely high level of thermal efficiency and very low operating costs due to our patent pending oven design. Our exclusive franchising concept will bring a world-class quality pizza experience at an affordable price for to all our customers. According to the 2011 Pizza Power Report, an annual analysis of the pizza industry published by the most respected trade publication in the industry PMQ magazine, over 90% of Americans on average eat pizza at least once a month with over 25% of Americans consuming pizza at least once a week. The latest count of pizza establishment determined

Pierre-Auguste Renoir - Dance at Bougival Essay

Pierre-Auguste Renoir - Dance at Bougival - Essay Example The essay "Pierre-Auguste Renoir - Dance at Bougival" analyzes Pierre-Auguste Renoir's painting called Dance at Bougival. The â€Å"Dance at Bougivel† painting has two emotions in it, perplexed by the use of different colors and the impressions on the faces of characters present on it. There is a gentleman in a classic-blue old suit and a yellow hat that is holding a lady and they seem to dancing to the tune of a classic song. The man is faces her lady in a romantic way trying to create an impression on her while she does not face him directly. It created a kind of romanticism that is not different from what we know today; the extent a person goes to create an impression to his lover, but she is reluctant to reciprocate her feelings to him until she is sure that she is â€Å"safe†. The two lovers are clad in a manner that suggests that this dance was a special moment for them, a date. One may wonder what was in the mind of Paul Durand-Ruel when he finished this piece of art. Literature reveals that Ruel paid attention to impressionism. He dedicated his art to creating paints which portrayed passion and which, has influenced the modern way of life. During the year 1883, Ruel is said that he used his work to illuminate the experiences he had encountered in romance. His passion for art began when he inherited art gallery that was founded by his parents. Paul Durand-Ruel was born 1831 and died in 1922. Paul developed an interest in painting and he invested in promoting the work of the young artists.

The Americanization of Shadrah Cohen Essay Example | Topics and Well Written Essays - 750 words

The Americanization of Shadrah Cohen - Essay Example This is a basic human instinct to adopt standards, culture, norms, dress, and behavior in order to integrate into the society. The second is more active and requires that the person realize that they are different and actively try to change themselves in order to become more like their host culture. These changes are shown in people in a number of different ways. The story that has been read, â€Å"The Americanization of Shadrah Cohen† shows how these exact changes came to be manifested in the life of the young immigrant. This essay will follow these changes and help the reader to understand how they came to be shown within Shadrah Cohen over time. As the story begins, Shadrah Cohen came to the United States just like many tens of thousands of Jewish Russian emigres in and around the turn of the century. Having brought with him enough money to begin a small shop in lower New York, Shadrah along with his brother begin at the very bottom of American society and work to build the ir way up. Theirs is the immigrant story. The story itself is somewhat predictable and standard up until the arrival of Shadrah and his brother’s father from Russia. When the father sets foot on American land for the first time, he is a strange creature in what he sees as a foreign land. However, his sons meet him and have a different perspective; even though they are from the same ethnicity and the same country of origin. The father still wears his long side burns in the traditionally Jewish curly fashion, still wears the oversized long black coat that he wore in Russia, and has a very long, overgrown, beard. Due to the way that Shadrah has come to identify with his new environment and culture, he is a little bit embarrassed by the way that his father reminds him of the old country and his traditionally Jewish roots. As he greets his father on the docks, he and his brother are both dressed in Western clothing, wearing nicely pressed suits with a diamond tie clip. Accordingly , he offers his father to take him to a barber to have his traditional hair style cut as well as to take him to the clothing store to get him out of the traditional Jewish clothes he is wearing. In a way, his father probably reminds him of the way he looked when he first came to the United States and for this reason it embarrasses Shadrah to the point that he wants to change this as soon as possible. In a way, the story that is told is very close to the experience that many immigrants have. As they grow into a new culture, they begin to forget both actively and passively their cultural origins and traditions. This happens so much that when they are faced with the way that they used to look, used to dress, or used to behave they see it from a different perspective and are almost embarrassed with it. What is not discussed in the story is what ultimately happened with the father. Due to the fact that his sons both assimilated to such a high degree and in such a short period of time, on e could assume that the father did so as well. However, the fact of the matter is that it is likely that the father, due to his age, would not so easily forget his culture or the roots that he has in the old country. Whereas both of his sons quickly tried to hide their identity and melt into the American culture, the father chose to hold on to his and represent who he truly was rather than putting forward a face that was not representative of his ethnicity or his culture. Work Consulted Lessing, Bruno. "Short Story: The Americanization of Shadrach Cohen."

The Origin Of Art Deco Cultural Studies Essay

The Origin Of Art Deco Cultural Studies Essay Art Deco, one of the most influential art movements in the art history which was influenced by various cultures and art movements of past and present, lifestyle and society of the period between two life changing world wars, was diverse in design and glamorous and luxurious in style. Key influences include many styles of art and design including the high-style French crafts, different cultures of the far distant past and contemporary avant-grade art. It has reflected these inspirations intellectually and stylishly on its wonderful designs from finest French Art Deco furniture to mass produced modern household consumer goods. It was not just a style which reflected travel and adventure, leisure and entertainment, but a taste that was highly enjoyed by both high-society elite and common man with new spirit after the Second World War. It had handed down its concepts of design and visuals of both traditional and modern style to younger art movements as well as its vibrant, bold, and glam orous style becoming an influence to many contemporary designs. Art Decos characteristics cannot be defined easily as the term Art Deco includes a mixture of styles ranging from ancient arts and traditional French Decorative Arts to mass produced Avant-grade Modernism. Benton(2003) has found that Richard Guy Wilson said in Defining Art Deco, Art Deco Society of New York News that: If we can use the term Art Deco not to designate a specific style, but rather that it is inclusive and connotes the tremendous fertility of ideas, culture and design beginning in the early twentieth century and reaching a peak in the 1920s and 1930s we will better serve our own purpose. (Benton, 2003, p16) Thus according to C. Benton (2003), Art Deco can be described as the body of artefacts including works inspired by, but not copied from, historic and traditional high styles, works inspired by various cultures of past and those inspired by contemporary avant-grade art. All these influences and inspirations which helped to become what Art Deco is started at the first major appearance of Art Deco at the 1925 Paris Worlds Fair the Exposition Internationale des Arts DÃ ©coratifs et Industriels Modernes, where the term Art Deco derived from. ORIGIN OF ART DECO Paris was the cultural centre of the Western world, as well as home of many famous artists and designers. However, after the First World War when the United States hosted several art expositions and it seemed likely to have the leadership role in vital areas of art as it had less damage physically and economically, French was determined to retain her leadership in this area. Hence according to Chandler(2000), with the return of peace and prosperity, French once again hosted an international exposition to reassert her power as the ruler of taste and style. The Exposition Internationale des Arts DÃ ©coratifs et Industriels Modernes was set to show the world that French taste would lead the way again and to define the elements of the new style which would soon be known as Art Deco. The exposition exhibited works of artists and designers from various countries where the early French Art Decos influences came from. Chandler(2000) has found that the exposition was supposed to bring togeth er the nations of the world and to show some sense of a developing common aesthetic among the practitioners of decorative arts and architecture. In fact countless talents from many countries had shown what could be done without turning back to the tradition in art and culture. The exposition was a success and the Art Deco style was born out of it. Moreover, since the exhibition, Art Deco expanded from Paris to other countries all over the world and although Americans did not participate at the exposition, the influence of this style had sprung across the country for the next two decades. The style developed mainly in France where it showed its emotional stylish playfulness. At the same time the rays of Art Deco touched upon the modern western architecture, decoration, design, and fine arts around the world, and even non-French Art Deco somehow relates to the early Parisian Art Deco designs. French-inspired ornamentations were used on American buildings continuously until the 1940s. Duncan(1999) said that the early French Art Deco style had in its moment of glory provided America with the legacy of rich architectural ornamentation. It is found that many international artists and designers adopted or adapted the design elements of high-style French Art Deco on their later modernized Art Deco. the furniture of the German Bruno Paul or the jewellery of the American firm Black, Starr Frostmany other designers throughout Europe and the United States paid vestigial homage to the French style, among them the creators of the spectacular American and English motion picture palaces, the Russian-born Serge Chermayeff and the British Clarice Cliff with her jazzy, brightly hued pottery (P.Bayer, 2000, p 10). EXTENSION OF STYLE ART NOUVEAU However, one could say that the beginning of the style Art Deco showed an early presence since before the 1925 Exposition, as early as the last years of ninetieth century when Art Nouveau gained its appreciation. The 1900 Exposition Universelle which was held in Paris, was one of the most successful and ambitious exhibitions in the history of Paris. Works of twenty four participating nations and their numerous colonies including European, American, African and Asian countries were exhibited. Hence there were varieties of fine arts, jewellery designs, ceramics and pottery, furniture and all sorts of craftsmanship which had inspired the Art Nouveau designers and some young designers who would later introduce the style Art Deco to the world. Two years later Art Nouveau became the most fashionable and sought after design style of the early twentieth century, and many designers became to develop interesting, variations and historical themes into their work. However, the style began to dec line afterwards because of the First World War and the rise of industrialization. After World War I, because of the result of the dramatic changes in social, personal and economical matters, expensive highly stylised and hand crafted Art Nouveau lost its favour and was replaced by new design concepts of mass produced modernism. The decorative aspects of the style became unessential and many European designers followed mass production and functionalism of German Bauhaus movement. Art Nouveau style was applied to low quality uninteresting products for commercial gain. On the other hand younger avant-grade designers began to experiment the modern design concepts by combining them with their predecessors fine craftsmanship to produce a design style that has both intellect of modernism and visual of the traditional styles. The cluttered floral designs, pastel colours and the overly decorative patterns and curls of Art Nouveau were stripped down to angular geometric shapes, clear bright and bold colours, uncluttered clean shapes and refined detailing of the new style Ar t Deco. Art Deco designers still kept their predecessors stylised designs and superb craftsmanship and adapted them in many of high-style Art Deco. Hence Art Nouveau style didnt come to an abrupt end but continued as Art Deco for several more years until it was replaced by mass produced modernist Art Deco designs. Art Deco is not the opposite of Art Nouveau; it is in many aspects an extension of it, particularly in its preoccupation with lavish ornamentation, fine materials and superlative craftsmanship. (Duncan, 2000, p6) Art Nouveau style mainly influenced the French Art Deco designers such as Jacques-Emile Ruhlmann who was famous for his French style Art Deco furniture designs. Moreover the influence of Art Nouveau can be seen in many of French Art Deco pochoir illustrations which adapted the elements of floral, stylised Art Nouveau with the combination of bold colours, and glamour of Art Decos characteristics. INFLUENCES OF THE ANCIENT ART As Art Deco was already gradually forming since the 1900 exhibition, the inspiration of the style is very diverse and came from different art forms and cultures. Among these influences, ancient Egyptian art and Aztec and Mayan architecture of ancient Mexico art were best known and adopted by many Art Deco artists and designers. Because of the discovery of the Tutankhamun tomb in 1922, the Egyptian art was popular among the Art Deco designers, that the craze touched every aspect of design. Fashion accessories, furniture, products and interior designs at that time had combination of Egyptian-inspired geometrical shapes with the Art Decos own stylised and decorative patterns. Egyptian arts usage of colour and ornamentations were also adopted for architectural decorations. Examples of these can be seen in usage of bold flashes of gold colour on the black granite surface of Raymond Hoods American Radiator building, and Egyptian-inspired eagle-shaped gargoyle ornaments on the Art Decos ico nic, the Chrysler Building. The ancient Mexican architecture also directly influenced Art Deco skyscrapers and interior designs. The geometric forms and patterns of rigid stonework Mexican art can be traced in many of 1920s and 1930s architecture and design. According to Baddeley(2003), the block-like mass, ziggurat forms and patterns of Manhattans skyline evoked rather than replicated the militaristic decorations of Aztec temple design. Even the zoning law applied on the New Yorks skyscrapers was based on the Aztec architecture concepts. According to Duncan(1999), the zoning law is applied to the high buildings to ensure adequate light and air for the citys working populace, hence architects developed a series of setbacks, or terraces, which stepped backwards and upwards like Ziggurats of the Aztec architecture. However, the decorations on the building and inside of the building had influences from historical art styles of Japanese, Islamic, Celtic besides Egyptian and Mexican, and sometimes all the styles app ear together to give the impression of an unspecified historicism. TRADITIONAL AND MODERNITY, DECORATION AND FUNCTION Art Deco was purely decorative and was not the leading intellectuals of the period although it had approach to functionalism of modern designs. Since World War I and rapid industrialization, most modernist artists and designers were keen to produce mass-produced designs made in new, low-cost materials and rejected any decorative intentions. However, according to Robinson(1988) many of these designers soon realised that functionalism alone cannot fulfil the customers demands as certain amount of fantasy, luxury and embellishment were required in order to fulfil their aesthetic dreams. Many designers working in more mundane materials, for mass production and the popular market, came to see forms and motifs derived from fine art as capable of bringing aesthetic value to even modest domestic environments, as well as giving value to their own practice. (Benton, 2003, p105) Thus Art Deco is decorative even when it doesnt employ ornaments and surface decorations, to provide sense of emotional fulfilment and luxury to bold machine-made items. This concept of Art Deco was practiced in many areas of designs including industrial, interior and furniture designs as well as in architectural design. According to Duncan(1999), in traditional architecture, Modernist decoration was used as a transitional device to alert the eye to a change in the buildings contour. Vertical and horizontal decorations were used to emphasize a skyscrapers height and rhythm of the setbacks, moreover colour was also applied along the setbacks on the building to provide definition to the passerby far below. Duncan(1999) has found that Hildreth Meiere, American artist and architect said in July 1932 The Question of Decorative Architectural Forum that: Decoration is that which gives color or texture, scale or pattern or interest, which is used, whether functionally or not, because it gives pleasure or expression. An architect instinctively employs it because he is an artist who designs for aesthetic enjoyment as well as a builder who must build adequately for physical needs. (Duncan, 1999, p150) Thus Art Decos modernized traditional style or decorative modern style of decorations and ornamentations were applied on everyday household products, automobiles and buildings to give certain amount of interest and luxury, as a result Art Deco became widely appreciated by the high society and considered to be the functional form of elegant and luxurious modernism. AVANT-GRADE INFLUENCES Art Deco designers and Avant-grade designers shared the same interest in applying decoration since the latter themselves became to practice the decorative arts on their artworks. Benton(2003) believed that the association between avant-grade art and Art Deco was also encouraged by decorative artists ambitions. Likewise, Art Deco designers also adapted the avant-grade movements elements in many areas of its decorations. Many of Art Decos graphic posters and illustrations showed the influence of cubism and futurism by adding abstract, fragmented, overlapped geometrical shapes with crisp rigid lines to show the periods occupation with speed and power. The influence also can be seen in the areas of product design and furniture design, for instance Erik Magnussen used the abstracting and fragmentation techniques of Cubism on his coffee service called Cubic or The Lights and Shadows of Manhatten to produce interesting and eccentric look of an usual and functional coffee set. NEW WORLD, MODERNIZATION AND MASS SOCIETY Art Deco style was influenced by past and present art movements and styles, but on the other hand, the influence came from not only creative environment but also the lifestyle and the ever changing society of the period between two world wars when the movement reigned supreme. The First World War gave a sense of break from the past and provided modernity to the whole new world which accompanied urbanization, standardization, and mass society. The new lifestyle of the modern world and the new roles for the common men resulted in mass consumption and demanding society, hence mass production became vital in manufacturing and producing areas. Deco style graphic design and posters with the illustrations of expanding leisure activities such as dance halls, and entertaining sports such as tennis and golf, as well as the brochures for holidays and beaches became the popular media between the consumers and the manufacturers as a result of demanding entertainment and pleasure by the mass socie ty of not only elites but also common people. Furthermore, developing science and technology which is a crucial element in the modern society also played an important role in creating modernity in the new world. Production and utilization of electric power, discoveries of new materials such as plastics, and the advancing techniques in creative area provided the whole new concepts to Art Deco designers and hence many artists and designers began to experiment with new design forms and materials to provide new satisfaction and fulfilment to the changing taste of the society. Robinson(1988) wrote that soon after the 1925 Exposition, superficial copies of Art Deco style products began to appear in large department stores that this took away the essential aesthetic understanding and quality of craftsmanship that had elevated the original Art Deco designs to a truly modern art form. Hence the rapid expansion of mass society and the advanced technology had soon produced a new style of Art Deco called streamlining which would replace the traditional techniques and style of Art Deco. SPEED, STYLE AND STREAMLINING The mass production of transportation methods, which is the result of the rapid expansion of mass travel, was the vital reason that the Art Deco designers turn to a new style of design and streamlining technique. According to Atterbury(2003), streamlining reflected contemporary enthusiasms for science, technology, engineering and, above all, travel and transportation. Streamlining was applied to a new generation of automobiles, aircrafts and trains, to express speed and mechanical efficiency, as well as to domestic and commercial objects where speed and efficiency were irrelevant. Atterbury(2003) also mentioned that streamlining and speed became synonymous in the public mind, and so streamlined forms were widely applied to domestic motor vehicles despite having little or no impact on their actual performance. Despite the science and rationality, the image of speed was more important and streamlining was used as decorations to appeal the surface look and seduce potential customers as the sleek contoured horizontal lines and smooth surfaces not only provide modernity, but also suggest luxury, comfort and restfulness. Works of industrial designer Raymond Loewy strongly reflected the streamlining style of Art Deco since he was one of the logical leaders who emphasized on styling this to promote mass consumption and mass production among the commercial competition during the Great Depression in America. The industrial designers attempt to modernize consumer goods as a means of boosting sales led him(Raymond Loewy) in the 1930s to the pursuit of a new style, one which evolved from the preceding fashionable Art Deco style of the 1920s and could be applied to industrial products. (Duncan, 1999, p 270) Hence new principles and application of streamlining became a fashion statement and was applied on almost every item from book covers and pencil sharpeners to the buildings decoration and the automobiles and trains. Examples of streamlining on buildings, which is known as streamline modern architecture, include the Coca-Cola Bottling Company plant, the California Petroleum Service Station and many roadside diners in Los Angeles, as well as the buildings and pavilions of the 1939 New York Worlds Fair which is known for acting as an endpoint of the Art Deco style. Like traditional stylised Art Nouveau was replaced by the mass-produced streamlined modern Art Deco after the World War I, so was Art Deco by total machine aesthetic Modernism when the Second World War definitely killed off the flame of Art Deco and the style lost its glamour after the New York Worlds Fair in 1939. Even though streamlining was popular after the 1925 Art Deco Exposition in the design of buildings and transportation, the original Art Decos decorative motifs had become out of date and took over by the pure functionalism of Post-modernist designers. Though some notable expressions of decorative exuberance inspired by Art Deco practices survived, the styles characteristic decorative repertoire and cheerfully commercial traits were widely abandoned in favour of design languages redolent of the larger social good. (Benton, 2003, p429) INFLUENCES OF ART DECO However, Art Deco recovered with the growing interest in advertising, graphic design, fashion design and glamour and individualism in the 1950s and 1960s. The major exhibitions on the subject and publications books on Art Deco fashion and fashion illustration had encouraged the revival of Art Deco. This new interest influenced many younger artists and designers such as The Memphis Group of the 1980s. According to Benton(2003), Art Deco also encouraged Post-modern architects and designers to employ a richer iconography to be playful and to take risks with materials, colours, surfaces, shapes and visual references. Although Art Deco style had left many good influential examples of designs for the future generations, there were some disadvantages in those influences it had handed down to later design movements especially popular, transient, expendable, low cost, mass produced, young, witty, sexy, gimmicky, glamorous and big business art movement in the 1950s which was known as Pop art. Late Art Decos mass consumption and mass production concepts of design were the certain part of the origins of mass media, and the illusion of popular artificial fulfilment of the modern art culture. Like mass produced cheap Art Deco products fulfilled the desires of the mass society after the First World War, according to Belting(2003) today visual advertising blinds the consumers eye to the thing itself and hides the illusion, its true nature behind the effects and lies of advertisements. Hence Art Decos both illustrative influence and conceptual influence has reappeared in nowadays graphic and advertising designs. Besides, Art Deco architecture and interior design also regained its popularity nowadays and the style was adapted in many of the recent architecture and replicated for the interior designs of contemporary buildings. The Parkview Square in the downtown area of Singapore, for instance is proof that the Art Deco influence is still surviving in some parts of the world today. The building design is classic Art Deco style and inspired by the Chanin Building as well as the lobby of the building is filled with Art Deco style hand crafted details and decorations. Similarly, the Williams Tower which is also known as the Transco Tower in Houston, Texas is also a fine example of Art Deco inspired skyscraper with rigid lines, angles and setbacks of the 1920s Art Deco architectural characteristics. What is more, the rotating beacon at the top which lights up at night put emphasis on the influence of the glamorous and luxurious night light of the pure Art Deco style. In addition, there are a few c ommercial and residential buildings surviving in Houston which are designed in postmodern interpretations of Art Deco streamline moderne style. Indeed, Art Deco may not be as popular as it was in its period of 1920s and 1930s,its intellectually and visually fascinating design concepts are still influencing the contemporary world and many design aspects of everyday life. CONCLUSION To conclude, Art Deco was a style as well as a total result of styles, a wonderful mixture of traditional and contemporary designs, with diverse cultures and technologies. It not only took inspirations from past and its predecessors, but also was influenced by the changing lifestyle and modernity of the period. Even though the time and the age between two wars was unrest and unstable, Art Deco had lived long for three decades and flourished successfully until the spirit died down entirely in 1939 at The New York Worlds Fair. Many iconic and notable examples survived until these days and the styles elements and characteristics are being adapted or replicated in contemporary designs by today designers. The styles concepts of uniting mass production and the artist, function and decorations, commercial profits and emotional fulfilments, had passed essential examples and lessons in the history of art and design to younger generations and new birth of modern designs. Art Deco was decorativ e using fine craftsmanship in traditional style, yet it was modern and advanced in technologies and creations. Art Deco had gained its satisfying popularity during its high time, and in fact the style is still being enjoyed by todays society. What is more, the fact that it is still influencing many designers these days is undeniable.

Karma And Reincarnation :: essays research papers

KARMA and REINCARNATION Navigate: Ashram| Gurudeva | Newspaper | Church | Temple | Resources | HHE | Himalayan Academy Home Page The twin beliefs of karma and reincarnation are among Hinduism's many jewels of knowledge. Others include dharma or our pattern of religious conduct, worshipful communion with God and Gods, the necessary guidance of the Sat Guru, and finally enlightenment through personal realization of our identity in and with God. So the strong-shouldered and keen-minded rishis knew and stated in the Vedas. And these are not mere assumptions of probing, brilliant minds. They are laws of the cosmos. As God's force of gravity shapes cosmic order, karma shapes experiential order. Our long sequence of lives is a tapestry of creating and resolving karmas-positive, negative and an amalgam of the two. During the succession of a soul's lives-through the mysteries of our higher chakras and God's and Guru's Grace-no karmic situation will arise that exceeds an individual's ability to resolve it in love and understanding. Many people are very curious about their past lives and expend great time, effort and money to explore them. Actually, this curious probing into past lives is unnecessary. Indeed it is a natural protection from reliving past trauma or becoming infatuated more with our past lives that our present life that the inner recesses of the muladhara memory chakra are not easily accessed. For, as we exist now is a sum total of all our past lives. In our present moment, our mind and body state is the cumulative result of the entire spectrum of our past lives. So, no matter how great the intellectual knowing of these two key principles, it is how we currently live that positively shapes karma and unfolds us spiritually. Knowing the laws, we are responsible to resolve blossoming karmas from past lives and create karma that, projected into the future, will advance, not hinder, us. Karma literally means "deed or act," but more broadly describes the principle of cause and effect. Simply stated, karma is the law of action and reaction which governs consciousness. In physics-the study of energy and matter-Sir Isaac Newton postulated that for every action there is an equal and opposite reaction. Push against a wall. Its material is molecularly pushing back with a force exactly equal to yours. In metaphysics, karma is the law that states that every mental, emotional and physical act, no matter how insignificant, is projected out into the psychic mind substance and eventually returns to the individual with equal impact.