Eradication of Corruption

†¢Corruption hurts economies, people, and governments. Corruption is unethical, immoral, and illegal in many societies, religions, and countries. It needs to be stopped. Private organizations, United Nations, and some governments have attempted to stop corruption or at least have tried to prevent it. They have failed, however Eradication of corruption should be the nation’s number-one priority in view of the ever-increasing horizon of political and administrative corruption and its baneful multifarious effects on the society-at-large.It needs to be understood by all that eradication of corruption is only possible if strong political commitment exists. Without strong political commitment, bureaucratic reorientation and a vibrant and effective civil society, checking corruption turns into a very difficult almost impossible task. Corruption is more in india only because even if they are caught they are coming out in minutes with money or power. so we should have a policy cal led rule is rule for everyone,even for politicians . Noting that India is presently ranked at 72nd place among 180 countries by the Transparency International in its latest Corruption Perception Index (CPI), the Centre said it has taken several measures and is â€Å"moving progressively† to eradicate the menace.Corruption is prevalent at all levels. Improving transparency and accountability could help reduce corruption substantially. However, this requires stricter laws and regulations. To eradicate corruption from india it's important to first eradicate corruption from within ourselves.. We should not keep blaming others for the growing rate of corruption in the country but rather see what we have or what we could do to eradicate corruption from india..First thing to do is to make strict rules and if someone is caught with sth then punish them severely. †¢How Corruption be eradicated from INDIA? I narrate Bullet points: 1)Revive Moral and cultural values by daily viewin g on regional and national Door Darshan during Prime time of real life, practical episodes from lives of Lal Bahadur Shastri, Mahatma Gandhiji, Swami Vivekanand, Saints like Kabir,other regional heroes and torch bearers; 2 ) Reinforce similar programs in schools nd colleges; 3 ) Highlight simplicity of cultural, moral values by eulogising episodes of Awardees like Child Heroes, Teachers, craftsmen, artists, musicians; 4) Revise text books in schools and improvise extra curricular to uphold values per above in every school; 5) RUN educational shorts on mass-media for exhorting citizens for RIGHTS, and How and where to access Right to Information; 6)Introduce more † Jan Kalyan † and P-R in every Govt. Revenue offices, collectorates, etc. 7 ) Improve † supply side † economics for Education by doubling schools, Vocational Diplomas, colleges of Medical, Engineering, I.T, as well as distant and On-line educational facilities; 8 )Improve † Supply side † economics for basics like seeds, irrigation, sprinkler irrigation,Renewable energy devices like SOLAR,WIND for every 10 households to begin with in every village, Farmers' Co-ops for direct marketing to Urban areas; 9)Encourage terrace farming of potatoes, etc like in south american Andeas, and Japanese Rice growing techniques in higher altitude regions, etc; 10 )Involve and encourage more women's NGOs and gram panchayats to monitor all of above to embolden ‘PRO-ACTIVE' GROWTH Orientation, thus avoiding PITFALLS and EVILS of Shortages and Contrived ‘ SOCIALISM ‘. REGARDS.

Math and Music Essay

Math and music are connected in many ways. Math is seen to be as very precise. Music is often seen as a way to express emotion. They are actually both very closely related together. Music is an expression of scales and notes that are strung together to make sound. Math is the subject of numbers and symbols used to write formulas and equations. At its foundation, music and math are related. In this essay, you will show that math and music are related in many ways. They are more closely related then what they are seen to be. Numbers to beats. Pitch to rhythm. Rhythm Math and music’s connection begins with something called rhythm. Music is built on rhythm. Same as how mathematics is based on numbers. Rhythm is made whenever the time range is split into different pieces by some movement or sound. There are many everyday life examples of rhythm the beating of your heart, when waves hit the shore of a beach and the systematic way the traffic light blinks is rhythm. Rhythm measures time so the measure and time signature are created to make rules for a certain piece of music. A piece of music is divided into equal measures. Each measure represents the same amount of time. Each measure gets split into equal shares, or beats. A time signature has two parts. It resembles a fraction. The top number (numerator) is how many beats in each measure. The bottom number (denominator) indicates tells you which note to count. For example, 4/4 is the most common time signature. The four at the top represents how many beats in that measure (4). The four at the bottom indicates which note to count (in this case, a whole note). Beats are in notes. These represent how long to hold the note for. For example, a quarter note equals one beat. How many beats in measure, four. (Numerator) How many beats in measure, four. (Numerator) Which note to count for, whole note. (Denominator) Which note to count for, whole note. (Denominator) Binary Number System Music is related to math with the binary number system. By following this pattern, one can see how each succeeding power (of two) gives a new note to work with (ex: sixteenth notes, thirty-second notes, sixty-fourth notes, one hundred-twenty-eight notes, and so forth). This pattern is also used for rests. A rest that is a whole rest is equal to a whole note. A half rest is equal to a half note. This pattern continues on. In 4/4 time there is one whole note in a measure, this equals 20=1. Two half notes go in a measure. The binary version of this is 21 = 2 half notes per measure. 4 quarter notes in a measure. The binary version of this is 22=4 quarter notes in a measure. 8 eighth notes go in a measure. The binary version of this is 23=8 eighth in each measure. 16 sixteenth notes fall in each measure. The binary version is 24=16 sixteenth notes in a measure. Binary Number System is shown above Adding a ‘dot’ after any note increases the value of the note by one half of the original note value. This also applies to rests. All of these rests and notes can be a combination of many arrangements to make different rhythms. The only condition it has is that there must the same exact number of beats in every single measure. A time signature of 4/4 says that every measure, no matter what notes they contain, must equal four beats. The fractional way of saying this is the sum of the fractions that every individualized note represents, must always equal one. This is because 4/4 simplified is â€Å"one.† Here are a few examples that will and will not work out. Another very common time signature is 3/4. The fractional way of saying this 3/4. The quarter note would still get one beat (due to the fact a four is at the bottom) but this time there would only be three beats in a measure. This basically means the total number of beats must be three. These are some examples that will and won’t work. Math can be used to determine where the second note of the two will fall in relation to the three-note rhythmic cycle. This concept is the least common denominator (LCM). Since the LCM of two and three is six, one would divide the measure into six equal counts to determine where each and every note would fall. The six count measure can be counted as â€Å"one and two and three and.† (In the time signature of 3/4, each and every one of these counts signifies an eighth note, because three quarter notes equal six eighth notes.) In the measure below the first rhythmic cycle has three quarter notes in each measure. Each one is taking up exactly two counts. The first note is counted as â€Å"one and,† the second note would be counted as â€Å"two and,† and finally the third note would be counted as â€Å"three and.† The second rhythmic scale has two dotted quarter notes in every measure. The first dotted quarter note is counted as â€Å"one and two.† While the second dotted quarter notes starts on the ‘and’ of two, and is counted as â€Å"three and.† Give one of these cycles to each of your hands and try to play them all at once, beating on a table or some other surface. It may even help to count aloud while doing this to make sure all the beats are falling on the right count. A much more complicated rhythm is three aainst four. The least common multiple of three and four is twelve so so the measure is divided amongst twelve equal parts. (In this case, each count signifies one sixteenth note, because three quarter notes equals twelve sixteenth notes.) This cycle can be counted as â€Å"one e and a, two e and a, three e and a, four e and a.† While trying to beat out this rhythm as well, one may find that beating out a two against three is far easier then beating out a three against four, though it is quite possible to play both. Every single thing surronding us has a rhythm. Ocean water has a rhythm. Protons and neutrons have rhythm. In every case, however, the rhythm moves the vibrations of the rhythm to the surronding material. Whether it be water, the ground, air, or something else, rhythm transfers vibrations. When rhythms distrupt the medium in a periodic way (repeating at equal times for equal amounts of time) they create something called wave motion. A wave has a high and low point just like an ocean wave has a high point and a low point. The high point in a wave is called the crest. The low point is called the trough. One wave equals one cycle. The first wave is called a transeverse wave. A transverse wave is a wave that lets the particles in the medium vibrate perpendicular to the direction that the wave is traveling. Particles in medium travel this way Particles in medium travel this way Wave travelsthis way! Wave travelsthis way! Attach a rope to something in front of you then give it a little slack. Imagine jerking the rope up and down really quick. Jerk the rope Jerk the rope Wave moves along rope Wave moves along rope The movement of one’s hand sends a wave going horizontally down the rope whilst the rope itself moved up and down. Crest Trough Crest Trough Particles in mediumtravel this way Particles in mediumtravel this way Wave travelsthis way! Wave travelsthis way! Crest Trough Crest Trough When a violin string gets plucked, it works exactly like the rope. The pluck, instead of a jerk, creates the wave. The wave travels along the string horizontally, thus, the air particles around it move ever so little vertically. Particles in mediumtravel this way Particles in mediumtravel this way Wave travelsthis way! Wave travelsthis way! An example of transverese waves are sine waves. Here a few examples. 2 Another type of wave is called a longitudinal wave. In this wave, the particles vibrate parallel to the direction the wave is traveling. A longitudinal wave is sent when you knock over the first dominoe. This is because the dominoes fall in the direction of the wave. Another example of a longitudanal wave is a Slinky  ® toy. Hang a slinky from the ceiling, with a weight attached to it’s end, if you pull on the weight and then let go, the slinky goes up and down many times. The wave and the medium move parallel to each other. Sound waves are also longitudinal. The source of sound waves directs a vibration outwards in the air. At the points of compression, many air molecules crowd together and the pressure gets very high. At it’s point of refraction, the molecules are far apart and the air pressure is low. Sound waves create points of compression and refraction. An example of a transverse wave is when one plucks a violin string. The wave that it produces however is longitudinal. The wave travels through the air, hits your eardrum and lets one hear the note. A direct connection can be seen between two kinds of waves. The crest of a transverse wave has a direct relation to the point of compression in a longitudinal wave. The trough of the transverse wave corresponds to the point of rarefraction in the longitudinal wave. Amplitiude, frequency and wavelengths are charecteristics of a wave. Amplitude (A) is the distance from the top of the crest to where the wave originated from. The wavelegnth (ÃŽ ») is any point on the vibrations to the corresponding next one. It is the distance a wave travels in one cycle. The frequency (f) is the number of waves per second. Frequency is measured in Hertz. One Hertz (Hz) = one vibration/seond. The period (T) is the amount of time it takes for one whole wave or cycle to complete fully. The period and frequency are recipricols of on another. (T=1/f). The loudness is how the listener measures amplitude. The larger the amplitude the louder the loudness. The smaller the amplitude the quieter the loudness. The pitch is the listeners measuremet of frequency. It shows how high or low a sound is. The higher the frequency, the higher the pitch. The lower the frequency, the lower the pitch. The water experiment can explain pitch. The more water in the glass the lower the pitch. The less water in the glass, the higher the pitch. In a complicated tone, there is something called a partial. The root tone with the smallest frequency is called the fundamental frequency. In most musical tones, the frequencies are integer multiples. The first one would be f. The second would be 2f. The third would be 3f. This pattern continues. 1st harmonic f=100 Hz 2nd harmonic2f=200 Hz 3rd harmonic3f=300 Hz 4th harmonic4f=400 Hz 1st harmonic f=100 Hz 2nd harmonic2f=200 Hz 3rd harmonic3f=300 Hz 4th harmonic4f=400 Hz If the fundamental frequency is 100 Hz, these would be the frequencies of the first four harmonics: 1st harmonic f=220 Hz 2nd harmonic2f=440 Hz 3rd harmonic3f=660 Hz 4th harmonic4f=880 Hz 1st harmonic f=220 Hz 2nd harmonic2f=440 Hz 3rd harmonic3f=660 Hz 4th harmonic4f=880 Hz If the fundamental frequency is 220 Hz, these would be the frequencies: Handel (1685-1759) used a tuning fork for A with a frequency of 422.5 Hz. By the 1800’s the highest frequency was 461 Hz in America and 455 Hz in Great Britain. Since stringed instruments sound better when tuned higher, the frequency probably would have kept rising. However is 1953 the standard of 440 Hz was agreed tooo. Still, some people use a frequency of 442 or 444Hz. The Piano 5 black keys 7 white keys 5 black keys 7 white keys On the piano keyboard, there are 88 keys. It has a pattern that repeats every 12 keys. The pattern contains 7 white keys and 5 black keys. The white keys are given a letter name A through G. The black keys also get letter names, just with either a flat or sharp symbol after it. For example, the black key between C and D is has two names, C# or Dâ™ ­. The distance between two anearby keys on the piano is called a half step (for example, between C and C# or E and F). Two half steps make a whole step (for example between C and D or E and F#). A sharp raises it a half step meanwhile the flat lowers it half a step. Geometry Math is related to music by geometry. Geometric transformations are like musical transformations. A geometric transformation relocates the figure while keeping the size and shape. The original piece or geometric figure is not changed. The simplest geometric transformation is when the figure slides in a certain direction. The results are the same size, shape and angle measurement. This is called a translation in geometry First place the music notes on the vertices of this triangle. Then move the notes are to the staff. The musical version of the geometric translation appears. Geometric Translation – Repetition The most simple of translation are in â€Å"When the Saints Go Marching In.† The repetitiveness is the theme of this song. The notes are played the same, just in different measures of the music. This means that different measure have the same notes. Another example is in Row, Row, Row your Boat. Geometric translations do not only have to be horizontal. They can be raised or lowered. It can be raised or lowered vertically which means the pitch can be higher or lower. Transposition is a more sophisticated application of translation to music. It involves the movement of an exact sequence of notes to an Geometric Translation – Transposition Transposition is another application of translation in music. It involves the movement of an exact sequence of notes to another place on the scale. The notes are in another key. This is shown in the song â€Å"Yankee Doodle.† Another example of this can be found in â€Å"O Christmas Tree.† Geometric Transposition – Reflection When the geometric figure is reflected across a line, the result is a mirror image of the original figure. The size, shape, angle and measurement remain unchanged. Another name for reflection is a â€Å"flip.† There are two types of reflections, one over the x-axis and one over the y-axis. The musical version of this is called retrogression, is shown below. An easy-to-see reflection is in the song â€Å"Raindrops Keep Falling on my Head.† An additional example is shown in the Shaker tune â€Å"Simple Gifts† A geometric reflection across the x-axis is the same except for the fact that the line of reflection is horizontal instead of than vertical. In music, it is called inversion and can take several different forms. One is in harmony: The other form of inversion is in melody and can be shown in Greensleeves. Transposition – Glide Reflection This is the third form of geometric transformation, which is called glide reflection. It is a translation followed by a reflection or a slide and then a flip. You can see inversion in Guantanamera, a popular Spanish song. Rotation A rotation occurs when a geometric figure is rotated 180 degrees around a point. The figure is moved to another location. It is also called a turn. This can also be done by reflecting over both axes, in any order. The Circle of Fifths and The Chromatic Circle The circle of fifths can be plotted from the chromatic scale by using multiplication. The chromatic scale is based on 12 notes which cannot be repeated until all notes are played. Multiply the numbers by 7. The reason we are multiplying by 7 is that there are 7 whole tones. Number the 12 notes of the chromatioc scale from: (0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11) Showing all of the notes on the chromatic scale: 0=C, 2=D, 4=E, 5=F, 7=G, 9=A, 11=B, 1=C#, 3=D, 6=F#, 8=G#, 10=A# Now multiple the whole row by 7 (0, 7, 14, 21, 28, 35, 42, 49, 56, 63, 70, 77) Then subtract 12 from every number until the final number becomes less then 12: (0, 7, 2, 9, 4, 11, 6, 1, 8, 3, 10, 5) And this is equal too: (C, G, D, A, E, B, Fâ™ ¯, Câ™ ¯, Gâ™ ¯, Dâ™ ¯, Aâ™ ¯, F) Which is the circle of fifths (this is enharmonically related too): (C, G, D, A, E, B, Gâ™ ­, Dâ™ ­, Aâ™ ­, Eâ™ ­, Bâ™ ­, F). This is the chromatic circle with the circle of fifths inside. (Star dodecagarm) This is the chromatic circle with the circle of fifths inside. (Star dodecagarm) Fibonacci Sequence Mozart is thought to be one of the greatest musicians and composers in the world. He used Fibonacci Sequence in some of his piano concertos (a concerto is a musical composition normally composed in three parts or movements.) Fibonacci sequence is the sequence of numbers, in which the sum of the two previous numbers equals that number ex: 0, 1, 1, 2, 3, 5, 8, 13†¦). In the margins of some of his music, he wrote down equations. For example, in Sonata No. 1 in C Major, there are 100 measures in the first movement (A movement is a self-contained part of a composition.) The first section, of the movement, along with the theme, has 32 measures. The last section of the movement has 68 measures. This is perfect division, using natural numbers. This formatting can be seen in the second movement, in turn. Although there is no actual evidence concerning this matter, the perfect divisions of this piece of musis is quite easy to see. Fibonacci sequence goes on infinetly. The first number is 1. Every following number is the sum of the previous two. Adding 1 to nothing would give you 1. The third number would then be 2, the sum of 1 and 1. The fourth number would be 3 (to get this you would add 2+1) and the fifth number would be 5 (to get this you would add 3+2). These are some examples of Fibonn aci numbers: Fibonacci Sequence is everywhere. For example, the Fibonacci sequence gets shown on the piano because of the way the keys are setup. An octave is made up of thirteen keys. Eight of the keys are white and five are black. The black keys are split into groups of two and three. Each scale has eight notes. The scale is based off of the third and fifth tones. Both pitches are whole tones which are two steps away from the first note in the scale (also known as the root). There is also something called the Fibonacci Ratio. A Fibonacci ratio is any Fibonacci number divided by one adjacent in the series. For example, 2/3 is a Fibonacci ratio. So are 5/8 and 8/13. This pattern continues on. The farther along the ratios are placed, the more they have in common. They also become more and more exactly equal to 0.618. The porportion that these ratios show is thought to be, by many, to look appealing to the eye. It is called it the golden porportion. A Hungarian composer named Bà ©la Bartà ³k often used this technique while creating his compositions. The chart below is based on the Fibonacci ratios. The root tone A has a frequency of 440 Hertz. To find high A you multiply the Fibonacci ratio of 2/1 by 440 Hertz to get 880 Hertz. To get the frequency of note C, multiply 3/5 by 440 to get 264 Hertz. Harmonics are based off of Fibonacci ratios. Bibliography http://www.goldennumber.net/music/ http://www.sciencefairadventure.com/ProjectDetail.aspx?ProjectID=150 Math and Music: Harmonious Connections by: Trudi Hammel Garland and Charity Vaughn Kahn

How online retailing satisfy the needs of hedonic and utilitarian Essay

How online retailing satisfy the needs of hedonic and utilitarian customers - Essay Example According to standard economic theory, consumers are known for maximization of utility driven by cognitive values. However, emotional desires can at times direct functional motives in the process of choosing products. Goods are often chosen and consumed at times for purposes of pleasure hence making consumers achieve some instrumental purpose. Such are categorized as; luxuries and necessities, hedonic and utilitarian goods, affect-rich and affect-poor products. The major distinction used on goods is based on necessity and luxury items, where necessary items are considered essential for minimum standard of living. Conversely, luxurious items focus on providing condition of abundance, pleasure as well as comfort. Hedonic versus utilitarian goods Luxuries according to researchers are consumed primarily to satisfy hedonic pleasure contrary to necessities which are consumed for the purposes of providing utilitarian goals. Hedonic goods provide consumers with multisensory dimensions such a s fun, pleasure as well as excitement. On the other hand, utilitarian goods are considered instrumental making their purchase motivated by product’s functional aspects. These include products such as Kitchen appliances, personal computers and home security systems. Hedonic and utilitarian consumption are considered discretionary hence their differences based on degree and consumer’s perception. ... Purposes which an item serves, either for usage or consumption is central in determining whether the item is primarily hedonic or utilitarian. For instance purchasing a cell phone for emergency purposes qualifies it to be called utilitarian product, and is contrary when the same cell phone is purchased for pleasure of chatting with friends. Purchasing the cell phone for pleasure makes it a hedonic product. At the same time goods consumed for hedonic purposes are majorly inclined towards affecting the rich than those consumed for utilitarian purposes. The various distinctions have important implications on the way consumers make decisions based on particular context. The various distinctions as applied do not give any implications of good or bad, however consumer’s choice between the groups is majorly based on whether justification can be drawn from preference for items otherwise referred to as hedonic. The need for justification can either be increased or decreased depending o n response modes. There are various examples where evaluation on preferences gives reversible results depending on whether evaluation process takes separate or joint process. According to Okada (2005), customers frequently visiting restaurants preferred hedonic desert in situations where only single kind of desert was offered. However, in cases where there was variety, customers preferred more utilitarian dessert. Nature of choices made in such instances was based on the kind of difficulty encountered in justifying a hedonic option. Discretionary nature of various hedonic items increases chances of customers making a choice to purchase it. There is difficulty involved in making choices between utilitarian and hedonic goods since hedonic products appear more

OUTLINE Assignment Example | Topics and Well Written Essays - 500 words

OUTLINE - Assignment Example In the present age where there is growth hence need for more food, the pesticides should be used as much as critics may perceive them to be poisonous. The Environmental protection Agency provides that food may not harm individuals if they are washed (Robin, pp.30) I. To know if the food that individuals eat is safe, one should be aware of the amount of pesticides left on the food consumed. This amount of pesticide is referred to as pesticide residue. According to the Environmental Agency, there is an amount that when left on the food makes it safe. This amount that is permitted on the food is known as pesticide tolerance. For the determination on what is to be left, the Environmental protection Agency dictates environmental and health risks that pesticides pose (Robin, pp.30) a) For the persons who do not consume organic foods, there are measures that can be considered to make the food harmless. Firstly, if foods are washed the consumption of pesticides are reduced to some amounts. The most effective way of washing is by the use of running water rather than soaking or dunking as it washes away pesticide on the surface unlike the other two that scatter them on the surface b) Apart from the washing effectiveness can be achieved by scrubbing vegetables and fruits like root and melon vegetables like root and melons vegetables. The leafy vegetables outer layer should be cast off to lessen exposure. Peeling vegetables and fruits if need be may be of help. Skin and fat can be sheared from poultry, fish and meat to lessen the pesticide residue amount that is in fats. In addition, eating various vegetables and fruits limits exposure to one pesticide type. A dry cloth should be used in drying of food to avoid contamination from towel. The consumers ought to know that organic food contains pesticides. In fact 95% of additives in organic food are organic. I. There are ways to decrease the pesticide amount that are got on foods, although

Intermediate Macroeconomics Essay Example | Topics and Well Written Essays - 1000 words

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The Arts and Architecture Essay Example | Topics and Well Written Essays - 2250 words

The Arts and Architecture - Essay Example As Walter H. Godfrey (1991) rightly puts it: "...architecture is the crystallisation of history. All the arts, to a large extent, depend for their growth and encouragement on the broad movements of national life, which have their bases in profound historical conditions or great political events. But the connection between these things and architecture is more intimate, more direct, and infinitely more obvious even to the unskilled observer than in the case of, say, literature or painting." (p. 2). The first forms of architectural designs can be traced back to the early Greeks in the Hellenistic period and architectural festivals that celebrated the rich cultural heritage of the nation is a recent development in Europe and the Western World. The paper here tries to analyse the various events that are held during the London Festival of Architecture and try to unearth the cultural and national significance for the event among the audience. The paper tries to analyze the London Festival of Architecture and to bring out the major theoretical aspects regarding the growth of architecture in London. The London Festival of Architecture is celebrated in each summer and this year it has taken place recently from June 20, 2008 to July 20, 2008. The festival is regarded as one of the best festivals the nation has witnessed as it offers myriads of opportunity for the spectators both for enlightenment and entertainment. Like any other architectural fest, the London Festival of Architecture unearths the best form of artistic perfection of the past generation and all the architectural monuments have a different story of culture or myth associated with it. They are reminiscent of some of the most important cultural and historical heritage and as such they have got a lot to offer to the spectators. The 2008's London Festival of Architecture offers to provide fresh outlooks to the onlookers as its theme is FRESH: "The theme of this ye ar's festival is FRESH and organizers are exhorting visitors to take a fresh look at London, to indulge in fresh thinking, to enjoy the fresh talent on show and the fresh air of the walks and rides." (Williams). The festival is located in the central London, providing easy access to the many visitors who witness the festival. Content: The London Architectural Festival consists of a variety of programs, each of which focuses on one architectural monument or other. The major highlights of the festival include the LFA Clerkenwell & City of London Hub walking tour 1, LFA Clerkenwell & City of London Hub walking tour 2, Barbican flat tours 2, Barbican Screening : Garbage Warrior, Barbican Screening: The Rural Studio, the Brazilian Architecture in the 20th Century, Building the South Bank, Embodied Energy: Dance at Carter Lane, Fresh Views of London, 24 Hour Film Competition: Prize Giving, Green Sky Thinking, Roman Fort gate, and the Digital Architecture Film Showcase. The London Architectural Festival covers architectural monuments like the City Information Centre, National Portrait Gallery, Liverpool street station balcony. Aim: The aim of the paper is to analyze each event in the London Festiv

Ismg 2 Essay Example | Topics and Well Written Essays - 500 words

Ismg 2 - Essay Example In IT departments, today’s CIOs are at cross-roads (Austin, Nolan and O’Donnell 15). Globalization and digitalization, on the other hand, make technology more significant than ever. Hence, IT skills have become the competitive factor that every organization needs to penetrate in to the global market, as well as the human society. Latest technology, for instance social and cloud computing, also have unleashed the probability of decentralizing an enterprise (Austin, Nolan and O’Donnell 16). This has put IT along with its CIOs in a significant situation where they must to generate enhanced tactics so as to move with the global trends. CIOs who succumb to these challenges either quit their job or are eventually laid off. Barton could uncover his new staff by recognizing the talent of every member of his staff (Austin, Nolan and O’Donnell 26). Changing a business plan, as perceived, is easier than discovering talents. However, discovering and developing the talents of Barton’s staff members is the best option of attaining organizational goals. Barton could uncover his new staff by seeking for real diversity of talent among the workers (Austin, Nolan and O’Donnell 26). Staff member should be assigned quite diverse jobs in order for Barton to realize their competence. In a majority of cases, a good number of workers will do better than perceived in their new role (Austin, Nolan and O’Donnell 27). Also, Barton should seek to reward his staff whenever they do something appealing, and motivate them when things do not go as planned. Through this, every member of Barton’s staff will always perform to the fullest in line with his or her specialization. David says that Barton will last no more than any year since this has been the trend with a majority of CIOs in the IT field. Even though, David’s basis might be true, it shows how arrogant David is. CIOs face

Power point presentation on The Goblin shark , the retractable jaw, PowerPoint

Power point on The Goblin shark , the retractable jaw, shape and colour of body as well as the electro-sensitive organs for finding prey - PowerPoint Presentation Example The goblin shark’s classification is as follows: it is from the kingdom Animalia, under the phylum chordata, class chondrichthyes, the cartilagenous fishes, subclass elasmobranchii, order lamniformes, family mitsukurinidae, genus mitsukurina, and species owstoni. The English common name is goblin shark, and its Japanese name is Ten-gu za-me, which is literally translated as goblin shark, due to the protruding snout. Slide 4 The goblin shark is mostly seen in the coastal areas of Tosa Bay and Boso Peninsula in Japan, where it was first seen. They are demersal, meso-pelagic to benthic, and are mostly found in the bottom of the ocean floor, as evidenced by fishermen catching them in nets that are dragged on the bottom of the ocean. They can be found as deep as 2000m. They are mostly found in temperate areas, but are also found around the tropics, as shown in the succeeding slide. Slide 5 As seen from the distribution pattern, in yellow, these are the areas where sightings of the goblin shark are recorded from mostly sparse literature available. Because of the inability of the shark to live in aquariums, presumably due to its adaption in living at great depths, other parts of its life cycle such as reproduction and growth are remained in obscurity. However, examining the bowels of dead goblin sharks have made their feeding habits and prey known. Slide 6 As apex predators of the ocean, goblin sharks are just like other sharks that have electro-sensitive organs called the ampullae of Lorenzini, which detect the motions of prey near the ocean floor. Their retractable jaws suck in prey, and with the combination of their blade-like teeth prevent the prey from escaping. They are also known to be nocturnal, due to some sightings of them surfacing the waters at night. Slide 7 The prey most found in the stomachs of the goblin sharks that were caught were small, mesopelagic teleosts such as lantern

Strategic Importance of GAP Essay Example for Free

Strategic Importance of GAP Essay GAP is the single most important development project affecting Turkeys regional relations. Its area of operation borders Syria and Iraq, covering close to 30,000 square miles, about 9. 7 percent of Turkeys total territory. About 6. 1 million people, nearly 10 percent of Turkeys population, live there. The reluctance of international financial institutions, especially the World Bank, to finance dam building in disputed river basins meant that GAP had to be almost entirely domestically financed. This region is relatively undeveloped. Agriculture plays twice the role in the areas economy (39. 6 percent versus 17. 7 percent) that it does in the Turkish economy as a whole, while manufacturing is about half as important (11. 7 percent against 25. 2 percent) as in the entire country. The region only produces about 4 percent of the national income and ranks low in almost all aspects of development, including education and purchasing power. GDP per capita in the southeast region has been roughly 55 percent of the Turkish average (Turkish State Institute of Statistics, 1997:722). GAP is an ambitious project to narrow this gap. When completed, it will regulate 28 percent of Turkeys total water potential, generate 27 billion kilowatts of electrical energy, and irrigate more than 4. 2 million acres of land, thus adding another 50 percent to Turkeys arable farmlands. The amount of agricultural land irrigated by the State Hydraulic Works Administration and the total hydraulic energy (42,162 billion kilowatts) generated in Turkey will be doubled. Moreover, expanding irrigation will allow the production of a larger variety and more profitable crops, hich should ease Turkeys balance-of-payments difficulties. When the total irrigation is completed in the GAP region, the total irrigated area is projected to constitute 19 percent of the total irrigated land in Turkey (21 million acres). Power generation is as important as irrigation in GAPs plan. Dams on the Euphrates account for more than 33 percent of current hydroelectric production in the country, with another 14 percent from the Tigris. In sum, almost half the countrys total hydroelectric generation is being met from dams on these two rivers. By improving living standards, GAP is expected to reduce and perhaps reverse the persistent emigration from the area. Finally, it is hoped that GAP will eventually solve social and economic issues that have led to armed conflict: the bulk of the Kurdish population lives in this poorest part of Turkey. Unequal distribution of land here is a major economic problem that has political implications. â€Å"Some 61 percent of the farmers (about 150,000 families) own less than five hectares (12 acres), and 10 percent of the population own 75 percent of the land. The social structure has remained virtually unchanged since feudal times, with wealthy Kurdish landowners owning dozens of villages† (Bruan, 1994: 26). The tendency of all the riparian states to use the water problem as a domestic ideological tool exacerbates the problem. As Kut and Turan suggest, â€Å"Water disputes may be handy to politicians in personifying real or perceived outside threats in the domestic context, and in this way serve to unite the society against foreign enemies and mobilize support for the government† (1997:140). Indeed, the water issue has been effectively used in projecting the developmental needs in each country as strategic priorities and in defining water as an indispensable part of independent, autonomous development. The maximalist positions that all parties adopt regarding this issue might indeed be explained through such ideological imperatives (Kut Turan, 1997). Conclusion Strategic considerations and recent developments have also had a major impact on the water issue. While Turkish-Iraqi relations have been shaped by events in the Persian Gulf region, Syrias stance has been affected by the growing cooperation between Turkey and Israel. There are many reasons for this relationship, but one significant factor is Turkish concern over Syria, and this is in large part related to the water dispute. By shifting the strategic balance toward Turkey and against Syria, the alignment also strengthened Turkeys hand in the water issue (Muslih, 1996:124). From Israels perspective Turkey is the only potential source of water imports. From the perspective of Turkey, having Israel as a credible ally on the southern border of Syria helps ease tensions over the water and related Kurdish separatist activity originating in Syria. All these developments suggest that Syria can no longer use the â€Å"ethnic card† in bargaining over water with Turkey. An additional factor here is the potential for Turkish-Israeli economic cooperation related to GAP, the expansion of agribusiness that uses irrigation, and related industrial projects. An official protocol between the GAP administration and the government of Israel in conjunction with the International Cooperation and Training Center of the Israeli Ministry of Foreign Affairs, for instance, is underway, in which the two sides will cooperate on technology and training. In broader terms GAP could contribute to regional development, including potentially involving Syria in peaceful cooperation. A memorandum of understanding signed between the GAP administration and the International Center for Agricultural Research in Dry Areas in Syria on June 26, 1999, for instance, aims to develop an agricultural research center in the GAP area and monitor national resource utilization. Such confidence-building measures can prove crucial for a cooperative solution to the water dispute. Although Turkey is not a direct party to the peace process it has many expectations from a developing peaceful environment in the region. Despite being only on the periphery of the Arab-Israeli conflict, Turkeys internal and external security has suffered from terrorist and Islamic radical movements that flourish in the region. The Gulf War had devastating effects on the economy of the eastern and southeastern provinces in Turkey and contributed to rising separatist PKK activity in the area. Peaceful southern neighbors would help defuse tensions based on developmental gaps between the region and the rest of the country and increase trade. A more peaceful Middle East, if achieved, is likely not only to ease tensions over the Euphrates-Tigris Basin but also create an environment for a cooperative solution to the issue. Delinking the water issue from the wider security concerns, Kurdish ethnic problems, focus on regional underdevelopment, and optimal utilization of water resources instead can itself be instrumental in building regional cooperation in the Middle East. References Tomanbay, Mehmet (2000). TURKEYS APPROACH TO UTILIZATION OF THE EUPHRATES AND TIGRIS RIVERS , Arab Studies Quarterly, 02713519, Spring, 22(2):79-101Z Demirel, K Kulege (2004). Heavy metal contamination in water and sediments of an estuary in southeastern Turkey. International Journal of Environment Pollution. Geneva: 21(5):499 Ibrahim Kaya (2005). â€Å"Possible Turkish Water Export As A Tool For Peace And Stability In Middle East,† The Journal of Turkish Weekly. Retrieved Dec 11 from http://www. turkishweekly. net/news. php? id=3758 John Waterbury, Transboundary Water and the Challenge of International Cooperation in the Middle East, in Water in the Arab World: Perspectives and Progress, ed. Peter Rogers and Peter Lydon (Cambridge, MA: Harvard University Press, 1994 Gun Kut (1993) â€Å"Burning Waters: The Hydropolitics of the Euphrates and Tigris,† New Perspectives on Turkey 9, 2:1–17. George Gruen (1992). The Water Crisis: The Next Conflict, Los Angeles: Simon Wiesenthal Center John Kolars (1994). â€Å"Managing the Impact of Development: The Euphrates and Tigris Rivers and the Ecology of the Arabian Gulf: a Link in Forging Tri-riparian Cooperation,† Ali I. Bagis, ed. , Water as an Element of Cooperation in the Middle East (Ankara: Hacettepe University. Y. Bakour (1992). â€Å"Planning and Water Management of Water Resources in Syria,† in Le Moigne et al. , Country Experiences with Water Resources Management: Economic, institutional, technological and environment (Washington, D. C. : World Bank Frederick W. Frey (1993). â€Å"Power, Conflict and Cooperation,† Research and Exploration: Water Issue 9: 18–37 Suha Bolukbasi (1993) â€Å"Turkey Challenges Iraq and Syria: The Euphrates Dispute,† Journal of South Asian and Middle Eastern Studies 16, 4. Turkish State Institute of Statistics (DIE) (1997). Provincial and Regional Statistics, Ankara: DIE Armelle Bruan (1994) â€Å"The Megaproject of Mesopotamia,† Centrepiece (March– April) Gun Kut and Turan (1997) â€Å"Political-Ideological Constraints on Intra-Basin Cooperation on Transboundary Waters, † Natural Resources Forum 21 Muhammed Muslih (1996). â€Å"Syria and Turkey: Uneasy Relations, † in Henri J. Barkey, Reluctant Neighbor: Turkeys Role in the Middle East, Washington, D. C. : U. S. Institute of Peace Press.

Crossing to Safety and The Sweet Hereafter Essay Example for Free

Crossing to Safety and The Sweet Hereafter Essay The long summer has led me to produce a few thoughts on the assigned summer reading. While reading the books The Sweet Hereafter and Crossing to Safety I have discovered the importance of first person. By comparing the books I have found how the first person viewpoint relates to the characters, the action, and how the novels differ by author in their style of writing. The Sweet Hereafter has an interesting approach to sending us on a journey through the story. By having four narrators we get to see all the angles around the main event. One narration in particular, Billy Ansel, gives us an eye witness account of the featured action in the novel. The swerve off the road to the right, the skid, the smashing of the guard rail and the snow bank; and then the tilted angled plummet down the embankment to the sand pit, where, moving fast and somehow still upright, the bus slid across the ice to the far side; and then the ice letting go and the rear half of the yellow bus being swallowed at once by the freezing blue green water. Here we see how the first person can be used for action sequences. Because Billy Ansel was the only eyewitness, it is imperative that Russell Banks puts in his account in his own words, thoughts and feelings. Using the first person is one way to depict action, but it is also an efficient way to describe characters. Wallace Stegner takes a drastically different approach to his novel Crossing to Safety. The book is primarily told through the eyes of Larry Morgan. Throughout the book we get Larrys thoughts and feelings on events and happenings from beginning to end. Wallace Stegner uses Larrys character to describe the other characters and issues. Charity I was prepared for more or less-the fine narrow head, the drawn back hair, the vivid face, the greetings that managed to be excitedly personal even while she was dividing them among eight of us. but right then, in her doorway, crying greeting, she looked simply tall, beautiful, exotic and exuberant. These excerpts are a good example of Stegners use of the first person to describe a character as Larry saw it. Wallace does a good job of making sure not to overindulge the reader with pointless details and leaves the description short and sweet. Banks and Stegner both use the first person to tell their tales, but it is evident that their traits and s tyles vary significantly. Banks and Stegner have almost two completely different approaches to their novels. Russel Banks broke his story into four character chapters where we see one angle on the tragedy and surrounding events. By doing so, Banks invokes a different feeling from the book. Russell makes it seem as if the characters are actually talking to the reader, as if they were right across from you telling the story. The use of dialect and vocabulary also give the story a personal touch, to continue the exclusive feeling. Wallace Stegner uses one main character to take us through the book, inserting thoughts and dialogue when necessary. Wallace uses the first person viewpoint very differently than Banks. While reading Crossing to Safety it emits the feeling that the reader is actually there in the scene, watching it all take place as the story goes on. Stegner makes the book feel more like a movie than a story because of his vast descriptiveness in every scene and thought. Wallace makes the story flow s lowly building to climax whereas Banks has short thoughts with a peak at every turn of the page. The Sweet Hereafter and Crossing to Safety are both very-well written books and deserve the credit they get. While both books encompass the first person point of view, it all comes down to the personal choice of the reader, the literary connoisseur. Works Cited Stegner, Wallace. Crossing to Safety. New York, 1987. Banks, Russell. The Sweet Hereafter. New York, NY, 1991.

Joint operation planning process

Joint operation planning process The Joint Operation Planning Process, or JOPP, supports planning at all levels and for missions across the full range of military operations. This planning process applies to both contingency planning and CAP. The JOPP is an orderly, analytical planning process that consists of a set of logical steps to analyze a mission, develop, analyze, and compare alternative COAs, or courses of action, select the best COA, and produce a plan or order. Step 1: Initiation. The Joint Operation Planning Process or JOPP begins when the President, SecDef, or CJCS recognizes a potential for military capability to be employed in response to a potential or actual crisis and initiates planning by deciding to develop military options. The GEF, JSCP, and related strategic guidance statements serve as the primary guidance to begin contingency planning. Military options normally are developed in combination with other nonmilitary options so that the President can respond with all the appropriate instruments of national power. Often in CAP, the JFC and staff will perform an assessment of the initiating directive to determine time available until mission execution, the current status of intelligence products and staff estimates, and other factors relevant to the specific planning situation. Step 2: Mission Analysis. The primary purpose of mission analysis is to understand the problem and purpose of the operation and issue appropriate guidance to drive the rest of the planning process. A primary consideration for a supported commander during mission analysis is the national strategic end state -the broadly expressed political, military, economic, social, informational, and other conditions that should exist after the conclusion of a campaign or operation. The primary inputs to mission analysis are the higher headquarters planning directive, other strategic guidance, the Joint Intelligence Preparation of the Operational Environment or JIPOE, and initial staff estimates. The primary products of mission analysis are a restated mission statement and the JFCs initial intent statement, the Commanders Critical Information Requirements or CCIRs, and planning guidance. The figure below describes the key inputs and resulting outputs of mission analysis. Step 3: Course of Action (COA) Development. A COA consists of the following information: what type of military action will occur; why the action is required (purpose); who will take the action; when the action will begin; where the action will occur; and how the action will occur (method of employment of forces). A valid COA will have the characteristics outlined in the figure below. Once a valid COA is developed, the staff converts the approved COA into a CONOPS. COA determination will consist of four primary activities: COA development, analysis and wargaming, comparison, and approval. Step 4: COA Analysis and Wargaming. The commander and staff analyze each tentative COA separately according to the commanders guidance. COA analysis identifies advantages and disadvantages of each proposed friendly COA. Wargaming provides a means for the commander and participants to analyze a tentative COA, improve their understanding of the operational environment, and obtain insights that otherwise might not have occurred. Based upon time available, the commander should wargame each tentative COA against the most probable and the most dangerous adversary COAs. Step 5: COA Comparison. An objective process whereby COAs are considered independently of each other and evaluated against a set of criteria that are established by the staff and commander. The goal is to identify the strengths and weaknesses of COAs so that a COA with the highest probability of success can be selected or developed. The commander and staff develop and evaluate a list of important criteria, or governing factors, consider each COAs advantages and disadvantages, identify actions to overcome disadvantages, make final tests for feasibility and acceptability and weigh the relative merits of each. Step 6: COA Approval. The staff determines the best COA to recommend to the commander. The staff briefs the commander on the COA comparison and the analysis and wargaming results, including a review of important supporting information. This briefing often takes the form of a commanders estimate. This information could include such factors as, the current status of the joint force; the current JIPOE; and assumptions used in COA development. The commander selects a COA or forms an alternate COA based upon the staff recommendations. The nature of a potential contingency could make it difficult to determine a specific end state until the crisis actually occurs. In these cases, the JFC may choose to present two or more valid COAs for approval by higher authority. A single COA can then be approved when the crisis occurs and specific circumstances become clear. Step 7: Plan or Order Development. The commander and staff, in collaboration with subordinate and supporting components and organizations, expand the approved COA into a detailed joint operation plan or OPORD by first developing an executable CONOPS, which clearly and concisely expresses what the JFC intends to accomplish and how it will be done using available resources. It describes how the actions of the joint force components and supporting organizations will be integrated, synchronized, and phased to accomplish the mission, including potential branches and sequels. Contingency planning will result in operation plan development, while CAP typically will lead directly to OPORD development. Voice: Planning initiation begins when the President, SecDef, or CJCS recognizes a potential for military capability to be employed in response to a potential or actual crisis. The primary purpose of the next step, mission analysis, is to understand the problem and purpose of the operation and issue appropriate guidance to drive the rest of the planning process. Next, planners must develop a COA to accomplish the mission. During course of action analysis and wargaming, the commander and staff analyze each COA separately according to the commanders guidance. COA analysis identifies advantages and disadvantages of each proposed friendly COA. Wargaming provides a means for the commander and participants to analyze the COA and improve understanding of the operational environment. During COA comparison, COAs are considered independently of each other and evaluated against a set of criteria, which are established by the staff and commander. The goal is to identify the strengths and weaknes ses of COAs to select the COA with the highest probability of success. Next, the staff determines the best COA to recommend to the commander, which is normally presented in the form of a briefing for approval or further guidance. Finally, the commander and staff, in collaboration with subordinate and supporting components and organizations, expand the approved COA into a detailed joint operation plan or OPORD by first developing an executable concept of operations, or CONOPS. The CONOPS clearly and concisely expresses what the JFC intends to accomplish and how it will be done using available resources. Most often contingency planning will result in operation plan development, while CAP typically will lead directly to the development of an OPORD. Title: Contingency Planning A graphic is shown, which represents the four levels of planning detail: 1) Commanders Estimate 2) Base Plan 3) CONPLAN 4) OPLAN. The following text is shown on the right of the screen in support of the narration: Initiated by publication of the Guidance for Employment of the Force (GEF) and the Joint Strategic Capabilities Plan (JSCP) Conducted during peacetime Develops plans for a broad range of contingencies Compliments and supports other Department of Defense (DOD) planning cycles Facilitates the transition to crisis action planning (CAP) Voice: Contingency planning usually begins with the publication of a new GEF and JSCP. It is a peacetime process that develops plans for a broad range of contingencies with apportioned resources. Its performed in a continuous cycle that complements and supports other DOD planning cycles and facilitates the transition to crisis action planning, or CAP. Contingency planning is accomplished through four planning levels based on JOPES policies and guidance. Title: Contingency Planning Levels Action: On the left side of the screen is a graphic representing the the four levels of planning detail: 1) Commanders Estimate 2) Base Plan 3) CONPLAN 4) OPLAN. The following text is included as pop-up boxes to the matching components of the graphic: Level 1 Planning Detail Commanders Estimate: Focuses on producing a developed Course of Action (COA) Provides the SecDef with military COAs to meet a potential contingency Reflects the supported commanders analysis of the various COAs potential contingency Level 2 Planning Detail Base Plan: Describes the CONOPS, major forces, concepts of support, and anticipated timelines for completing the mission Normally does not include annexes or a TPFDD Level 3 Planning Detail CONPLAN: CONPLAN is an operation plan in an abbreviated format Requires expansion and alteration to convert into OPLAN or OPORD Includes a base plan with annexes, as required by the JFC and a supported commanders estimate of the plans feasibility Produces a TPFDD, if applicable Level 4 Planning Detail OPLAN: OPLAN is a complete and detailed joint plan with a full description of the CONOPS, all annexes applicable to the plan, and a TPFDD Identifies the specific forces, functional support, and resources required to execute the plan Can be quickly developed into an OPORD Voice: Contingency planning encompasses four levels of planning detail with an associated planning product for each level. Level 1 planning detail is the commanders estimate, which focuses on producing a developed COA. These military COAs enable the SecDef to meet a potential contingency. The objective of Level 2 planning detail is a base plan which describes the CONOPS, major forces, concepts of support, and the necessary timelines to complete the envisioned mission. This level normally does not include a detailed transportation feasible flow of resources into the theater. In Level 3 planning detail, the concept plan or CONPLAN is formulated, which is an operations plan in an abbreviated format. It includes annexes as required by the JFC and the supported commanders estimate of the plans overall feasibility. The CONPLAN may have an associated time-phased force and deployment data, or TPFDD, if applicable. Finally, the objective of Level 4 planning detail is a fully-developed operati on plan, or OPLAN, containing a complete and detailed joint plan with a full description of the CONOPS, all annexes required for the plan, and a TPFDD. The OPLAN identifies the specific forces, functional support, and resources required to execute the plan. The OPLAN can be quickly developed into an OPORD. Action: The following text is shown to the right of the planning level detail graphic: An OPLAN is normally prepared when: The contingency is critical to national security and requires detailed prior planning. The magnitude or timing of the contingency requires detailed planning. Detailed planning is required to support multinational planning. The feasibility of the plans CONOPS cannot be determined without detailed planning. Detailed planning is necessary to determine force deployment, employment, and sustainment requirements, determine available resources to fill identified requirements, and validate shortfalls. Voice: Furthermore, an OPLAN is normally prepared under the following circumstances: if the contingency is critical to national security and requires detailed planning; the magnitude or timing of the contingency necessitates the planning; detailed planning is required for a multinational planning effort; the feasibility of the CONOPS demands detailed planning; or if a detailed effort is necessary to determine the levels of force deployment and sustainment. Title: Crisis Action Planning Action: A series of pictures representing Crisis Action Planning is presented on screen. The following text replaces the pictures when mentioned in the narration: Contingency Planning Planning activities that occur in non-crisis situations; relies heavily on assumptions and projections Crisis Action Planning Based on facts and actual planning as a crisis unfolds Action: The series of pictures is brought back with additional images added to it and is now used as a background. Voice: Because its difficult to predict where and when a crisis will occur, planners must be able to rapidly respond to problems as they arise. Unlike contingency planning, which prepares plans in anticipation of future events, crisis action planning allows planners to respond to situations based on circumstances that exist at the time of planning. Crisis action planning procedures parallel contingency planning, but are more flexible and responsive to changing events. In time-sensitive situations, the JPEC follows formally established CAP procedures to adjust and implement previously prepared contingency plans by converting them into OPORDs or to fully develop and execute OPORDs where no useful contingency plan exists. Title: Crisis Action Planning Activities Action: In the background is a graphic representing the activities associated with crisis action planning. When mentioned in the narration, the corresponding parts are highlighted. The graphic shows a graphic labeled Event, directly under a box labeled Situational Awareness. Boxes continue in two rows, showing a linear sequence connected by arrows in a zigzag pattern. An arrow labeled OPREP-3 PCA points from Situational Awareness to Decision. An arrow covered by a document labeled Warning Order points to COA Development. An arrow labeled Commanders Estimate points from COA Development to COA Selection. An arrow covered by a document labeled Planning or Alert Order points from COA Selection to Detailed Planning. An arrow labeled Operations Order points from Detailed Planning to Plan Approval. An arrow covered by a document labeled Execute Order points from Plan Approval to Execution. Graphic bands at the top divide the graphic into three portions. Situational Awareness stretches across the entire screen, lasting throughout the process. Planning covers COA Development, COA Selection, Detailed Planning, Plan Approval, and Execution and the intermediary products. Two arrows across the bottom, labeled Prepare to Deploy Order and Deployment Order, extend across the same region as the Planning band. A band labeled Execution extends from near the end of Plan Approval through the Execution activity. Voice: CAP activities are similar to contingency planning activities; however, CAP is based on dynamic, real-world conditions rather than assumptions. CAP procedures provide for the rapid and effective exchange of information and analysis, the timely preparation of military COAs for consideration by the President or SecDef, and the prompt transmission of their decisions to the JPEC. The exact flow of the procedures is largely determined by the time available to complete the planning and by the significance of the crisis. The following steps summarize the activities and interaction that occur during CAP. When the President, SecDef, or CJCS decide to develop military options, the CJCS issues a planning directive to the JPEC initiating the development of COAs. Next, a WARNORD is issued that describes the situation, establishes command relationships, and identifies the mission and any planning constraints. In response to the WARNORD, the supported commander, in collaboration with subordinate and supporting commanders and the rest of the JPEC, reviews existing joint OPLANs for applicability and develops, analyzes, and compares COAs. Next, the feasibility that existing OPLANs can be modified to fit the specific situation is determined. The CJCS then reviews and evaluates the supported commanders estimate and recommends a COA selection. On receiving the decision of the President or SecDef, the CJCS issues an Alert Order to the JPEC to announce the decision. The supported commander then develops the OPORD and supporting TPFDD using the approved COA. The supported commander then submits the completed OPORD for approval to the SecDef or President via the CJCS. Finally, in CAP, plan development continues after the President or SecDef decides to execute the OPORD or to return to the pre-crisis situation. Title: Campaign Planning Action: The following bullet point list and quote from Joint Publication 5-0 are shown on screen, along with a picture representing campaign planning, in support of the narration: May begin during contingency planning and continue through CAP Primary way combatant commanders achieve unity of effort and guide planning of joint operations Operationalize combatant commander theater and functional strategies and integrate steady-state-activities, including current operations and security cooperation activities Require the broadest strategic concepts of operation and sustainment for achieving multinational, national, and theater-strategic objectives A campaign plan describes how a series of joint major operations are arranged in time, space, and purpose to achieve strategic and operational objectives. Joint Pub 5-0 Voice: It is important to note how campaign planning relates to the two categories of joint operation planning. Joint operation planning and planning for a campaign are not separate planning types or processes. Campaign planning may begin during contingency planning and continue through CAP, thus unifying the entire process. A campaign plan describes how a series of joint major operations are arranged in time, space, and purpose to achieve strategic and operational objectives. Campaign planning is a primary means by which combatant commanders arrange for strategic unity of effort and through which they guide the planning of joint operations within their theater. Campaign plans operationalize combatant commander theater and functional strategies and integrate steady-state-activities, including current operations as well as security cooperation activities. They require the broadest strategic concepts of operation and sustainment for achieving multinational, national, and theater-strategic objectives. Title: Types of Campaigns Action: Background image shows combatant command AOR map of the world. The following text is shown to support of the narration: Global Campaign Encompasses strategic objectives on multiple AORs. More than one supported GCC possible and competing requirements for transportation, ISR assets, and specialized units and equipment. The Global War on Terrorism is an example of a global campaign. Theater Campaign Focuses on activities of a supported combatant commander. Accomplishes strategic or operational objectives within a theater of war or theater of operations. Operations DESERT SHIELD and DESERT STORM comprised a theater campaign in the 1990-91 Persian Gulf Conflict. Subordinate Campaign Describes the actions of a subordinate JFC, which accomplish (or contribute to the accomplishment of) strategic or operational objectives in support of a global or theater campaign. Subordinate JFCs develop subordinate campaign plans Voice: There are three general types of campaigns, which differ generally in scope. A global campaign is one that requires the accomplishment of strategic objectives in joint operations in multiple areas of responsibility ,or AORs. In this case, there could be more than one supported geographic combatant commander, or GCC. Planners must be aware of competing requirements for potentially scarce strategic resources, such as transportation and ISR assets, as well as specialized and unique units and equipment, such as special operations and tankers. Global campaigns will often establish the strategic and operational framework within which theater and subordinate campaigns are developed. The Global War on Terrorism is an example of a campaign that spans all AORs. A theater campaign encompasses the activities of a supported combatant commander. It accomplishes strategic or operational objectives within a theater of war or theater of operations, primarily within the supported commanders AOR. An OPLAN for a theater campaign is the operational extension of a commanders theater strategy, and translates theater strategic concepts into unified action. Adjacent combatant commanders may conduct supporting operations, within the AOR of the supported commander or within their own AORs, under the overall direction of the supported commander. Operations DESERT SHIELD and DESERT STORM comprised a theater campaign in the 1990-91 Persian Gulf Conflict. A subordinate campaign describes the actions of a subordinate JFC, which accomplish, or contribute to the accomplishment of, strategic or operational objectives in support of a global or theater campaign. Subordinate JFCs develop subordinate campaign plans, if their assigned missions require military operations of substantial size, complexity, and duration and cannot be accomplished within the framework of a single major joint operation. Subordinate campaign plans should be consistent with the strategic and operational guidance and direction developed by the supported JFC. Title: Campaign Plan Design Action: A collage of images representing Campaign Planning are shown on screen. The following text is shown in support of the narration: Mostly art, not science-no best way to develop campaign plans Requires thinking creatively to make best use of resources to achieve objectives Involves Operational Art-the employment of military forces to attain strategic and/or operational objectives through the design, organization, integration, and conduct of strategies, campaigns, major operations, and battles Voice: Campaign planning is relatively unstructured compared to contingency and crisis action planning. Campaign planning is mostly an art, not a science; there is no set recipe or best way to develop a campaign plan. It requires a thorough knowledge of enemy and friendly capabilities, forces, and tactics, as well as out-of-the-box thinking and creativity in order to make the best use of resources to achieve the desired objectives. Because campaign planning is mostly art, it is inextricably linked with operational art, most notably in the design of the operational concept for the campaign. Operational art refers to the employment of military forces to attain strategic and/or operational objectives through the design, organization, integration, and conduct of strategies, campaigns, major operations, and battles. This is primarily an intellectual exercise based on experience and judgment. Action: A diagram is show to represent the three key elements of operational design in the following narration. The diagram shows: understand the strategic guidance, bracketing the first and second levels of the diagram, which are national strategic objectives with conditions (effects) branched underneath; next level is identify critical factors which brackets level three in the diagram, centers of gravity; finally, develop an operational concept is the last section bracketing actions under the centers of gravity boxes. Voice: There are three key elements of operational design. First, planners must understand the strategic guidance from the civilian leadership. This involves determining what the desired end state is and what has to be accomplished militarily to get there. Once planners understand what military conditions must exist to achieve strategic objectives, they must determine how to effect those conditions. The key to this is identifying the adversarys critical factors-their strengths and points of vulnerability, called Centers of Gravity (COGs). Finally, the planner must develop an operational concept, which describes the sequence of actions and the application of forces and capabilities necessary to neutralize or destroy the enemys COGs. Title: Joint Air Estimate Action: On the right of the screen, operational airpower images are shown. The following text and footer are shown on the left of the screen in support of the narration: Culminates with the production of the Joint Air and Space Operations Plan (JAOP) May be employed to support deliberate and crisis action planning The Joint Air and Space Operations Plan (JAOP) guides the employment of air and space capabilities and forces from joint force components to accomplish the missions assigned by the Joint Force Commander (JFC) Voice: Weve discussed joint operation planning in a very general sense, but how does the Joint Force Air Component Commander (JFACC) fulfill his specific responsibility to develop the air and space portion of the Joint Force Commanders (JFCs) campaign plan? The Joint Air Estimate Process is a six-phase process that culminates with the production of the Joint Air and Space Operations Plan (JAOP). The JAOP is the JFACCs plan for integrating and coordinating joint air and space operations. It guides the employment of air and space capabilities and forces from joint force components to accomplish the missions assigned by the JFC. A Joint Air Estimate Process may be employed during contingency planning to produce JAOPs that support Operation Plans (OPLANs) or Concept Plans (CONPLANs). It may also be used during crisis action planning in concert with other theater operation planning. Title: Joint Air Estimate Process Action: The following text is shown in support of the narration: Mission Analysis Joint Intelligence Preparation of the Operational Environment (JIPOE) is initiated; JFCs mission and guidance analyzed Situation and Course of Action Development JIPOE refined; Friendly and adversary COGs are analyzed to assist in COA preparation Course of Action Analysis Advantages and disadvantages of each COA are identified Course of Action Comparison COAs are compared to predetermined criteria to identify best employment options Course of Action Selection Staff briefs recommended COA to JFACC Joint Air Space Operations Plan (JAOP) Development Selected COA developed into JAOP Action: A link to Joint Publication 3-30 is provided at the bottom of the page. Each of the bold text above are linked to the following pop-up text: Mission Analysis: Mission analysis is critical to ensure thorough understanding of the task and subsequent planning. It results in the Joint Force Air Component Commanders (JFACCs) mission statement that includes the who, what, when, where and why for the joint air operation. Anticipation, prior preparation, and a trained staff are critical to a timely mission analysis. Staff estimates generated during mission analysis are continually revisited and updated during the course of planning and execution. Situation and Course of Action (COA) Development The first two tasks of situation and course of action (COA) development are expanding and refining the initial JIPOE completed in Phase I and COG analysis. Expanded JIPOE is essential to developing and analyzing both enemy and friendly COGs. This is especially critical for air and space planning given the perspective and scope of air and space operations. The third task is the development of friendly COAs. Air and space planners develop alternative COAs by varying the ends, ways, means, and risks. The operational objectives normally fill the what guidance for COA development; the supporting tactical objectives, effects, and tasks help define the how for planners. Once planners define the objectives and supporting effects, they further refine potential air and space COAs based on the priority, sequence, phasing, weight of effort, matched resources, and assessment criteria. The result of COA development is a minimum of two valid COAs or a single valid COA with significant branches or s equels. The final step is a risk analysis of the COA in terms of both operations and combat support Course of Action (COA) Analysis COA analysis involves wargaming each COA against the adversarys most likely and most dangerous COAs. Wargaming is a recorded what if session of actions and reactions designed to visualize the flow of the battle and evaluate each friendly COA. Wargaming is a valuable step in the estimate process because it stimulates ideas and provides insights that might not otherwise be discovered. Course of Action (COA) Comparison Comparing the COAs against predetermined criteria provides an analytical method to identify the best employment options for air forces/capabilities. This begins with the JFACC staff comparing the proposed COAs and identifying the strengths, weaknesses, advantages and disadvantages of each. This is often followed by rating each COA based upon the established criteria. Course of Action (COA) Selection COA selection begins when the staff presents their recommended COA (usually in the form of a briefing) to the JFACC. This briefing includes a summary of the estimate process that led to the recommended COA. Based on the amount of JFACC involvement throughout the planning process and the degree of parallel planning the commander accomplishes, COA selection will vary from choosing among alternatives to direct approval of the staff-recommended COA. Joint Air Operations Plan (JAOP) Development The JAOP details how the joint air effort will support the JFCs overall Operation Plan (OPLAN). The JAOP accomplishes the following: integrates the efforts of joint air and space capabilities and forces; identifies objectives and tasks; identifies measures or indicators of success; accounts for current and potential adversary COAs; synchronizes the phasing of air and space operations with the JFCs plan; indicates what air and space capabilities and forces are required to achieve the objectives. Voice: While the phases of the Joint Air Estimate process are presented in sequential order, work on them can be either concurrent or sequential. The phases are integrated and the products of each phase are checked and verified for coherence. The Process begins with Mission Analysis. This first phase incorporates: a

Gays, Lesbians, Bisexuals and the Media - Lesbians on TV :: Media Argumentative Persuasive Argument

Lesbians on TV: Illusion of Progress   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   When television first appeared back in the 1940's, times were very different.   What we would consider completely normal today would have seemed quite taboo just a few decades ago. For example, in 1953, Lucille Ball was not allowed to say the word "pregnant" while she was expecting baby Ricky and it wasn't until the 1960's show Bewitched, that we saw a married couple actually sharing the same bed.   Considering how conservative the television networks were back then, it is not hard to deduce that something as controversial as homosexuality would be far from discussed or portrayed at any level.   It was only in 1973 that television premiered its first homosexual character.   Over the next three decades the emergence of gay and lesbian characters in television has increased and decreased as the times have changed. Due to the resurgence of conservatism that came back in the early 1980's, homosexual topics were again reduc ed to a minimum.   Since that time though, as many people can see, there has been a rise of gay and lesbian characters on television. One might think after a first glance at the previous sentence that there has been progress among gay and lesbian communities to have a fair representation in the media.   However, if one looks hard at the circumstances surrounding their portrayal, many people may start to believe that if there has been any progress then it has been quite minimal.   In the 1990's there has been what is called a "normalized movement"(Warner 41).   This so-called movement has permeated into all aspects of the Gay and Lesbian movement's agenda.   It has become increasingly clear in the realms of the media such as television, movies and magazines.   The major objective for the proponents of this movement is to make the homosexual seem "normal."   This would be done by not focusing on the sexual nature of the homosexual.   Since their sexual behavior is considered deviant by society, any outward expression of it will be looked down upon.   So, it has been the goal of some leaders of the movement as well as those who control the media outlets to separate the identity and sexuality of the homosexual as far as possible.

Do It Now ( Not Tommarow But T :: essays research papers

The Poem entitled “Do It Now (Not Tomorrow But Today) was written by Michael Barabash who was deemed as “The poet of optimism';. The poem is about life and symbolizes how we choose to use the time of the future, in a positive way. The future time is a crucial part of life, which can work to your advantage or disadvantage. Everyone is blessed with time, even though some have more advantages then others money wise and so on, we are all give time and can use it to our advantage. As the quote says in the third stanza “success obeys the everlasting now'; implying that time is of the essence and however we choose to use it, can greatly affect how your life plays out. A second quote states “The Future waits- the while our past recedes';, the past is nothing but memories and can’t be changed, while the future awaits for you to change it. However, you decide to change it reflects back on you and can determine whether you lead a successful life or not. Problems and boundaries will make changing the future the way you want harder, but every one faces those and the future presents time for you to over come them and move on in most instances. How you use the future can be so important, as the author states “ Today is ours, to find a better way, to live; to love; to labor and to play';. If you use the futures time to your advantage it can greatly help you “the now alone can furnish all our needs'; allowing you to accomplish whatever you want or set out to do in life. Allow you to attain things that will outweigh and help overcome the tribulation that might present itself in your future. Almost anyone who is successful in life has taken advantage of the future and used it to overcome things and get places.

Baz luhrmann’s interpretation of Romeo and Juliet Essay

Shakespeare uses a prologue at the start of his play for a number of reasons. Firstly, it acts as an introduction to the story. We learn about the rivalry between the two families, †Ancient Grudge† it also makes clear that it is a tragic story of two †star – cross’d lovers † who are destined to die because of their families hatred. The prologue is like the opening to a film because both need to grab your attention. The setting of Baz Luhrmann’s ‘Romeo and Juliet’ is in the west coast of America, in a setting, which he calls Verona Beach. However this is not true as the beach’s real name is Venice Beach but the reason why he uses this is because it reminds everyone where William Shakespeare actually set the play, he set the play in Verona so by changing the name he has made quite a remarkable thing by making sure everyone knows where it is set. The other reasons why he filmed ‘Romeo and Juliet’ in the west coast of America is because Los Angeles is a big city just like Verona and because there is also a lot of violence and gangs in Los Angeles just like Verona. The types of film Baz Luhrmann used in the prologue are TV news style footage showing you how much of their fighting is causing their city to be more violent, as well as this they are trying to say that what is happening between the Montague’s and the Capulet’s has an effect on the rest of the city. By doing the prologue, as TV news footage is a clever thing to do, as it is an original idea and by doing it in this way it will keep the audience hooked to the rest of the movie. Another reason why Baz Luhrmann used TV news footage is because it shows the violence in Verona. When the camera shakes, the jumpy effect makes you think the violence is real and also is very dangerous. This makes the audience hooked to the movie. The director uses a voice over to read out the prologue. The actor reading the prologue played the priest. The priest Friar Lawrence is appropriate because he knows both sides of the story. His voice is deep, sorrowful and sad. His tone of voice is meant to be serious so everyone will be influenced by what he says about the circumstances surrounding the storyline and take him seriously. Also by making the priest read the prologue it shows that he is aware of the situation surrounding both the families and the effect it has on the rest of the city and the seriousness of the situation. Not only did they use a voice over, they used captions with bold letters and people shouting to grab our attention. This keeps us hooked and willing to watch the rest of the movie. He says this in a deep American accent, although as we know, he is not really an American but an Englishman. Luhrmann uses some interesting shots in the opening sequences, such as close-ups, because it is important as it shows their facial expression and the body language used, making it more realistic and interesting, thereby attaining the interest of the audience. He also uses long shots (establishing shots) to show the whole city from the helicopter as it gives an overall view of what is happening in the city as a whole, focusing your attention to different parts of the city. He uses medium shots because it is ideal for introducing characters as it concentrates on how they appear on first sight and the impact they have on the audience. He uses high angle shots so that you can see what is going on like a birds eye view, showing a character in proportion and comparison to the rest of the city. He also zooms into the statue of Christ and the two buildings to show how important they are and to make them stand out from the rest of the city, by attracting the attention of the audience and thereby making them focus on the zoomed objects, giving them the utmost importance. He also uses fades and cuts. Fades are when the scene goes black. Fades are to close the scene and go on to another part of the story. Cuts are used to show what may be happening in another part of the story, maybe at the same time of the scene that has just been showed. He also uses freeze frames. One example of a freeze frame was in the scene of the Montague boys, when the characters are still for some time. He also uses wipes to speed up the scenes from the film. The reasons he used these effects could be because they make the story faster and more intense, and tries to show how different the atmosphere in certain scenes are. Baz Luhrmann used operatic and church music as well as dramatic and religious music, because they all tie in with ideas of fate etc. This music is ancient like the families and the story. When the Montague boys come they have different music. They use rap style music to show that they are young and modern and part of a gang. Luhrmann uses different sound effects like gunshots, fires, helicopters, brakes and loud music when they show the Montague boys. The reason why he uses these is because this is meant to be a tense city with a lot of violence and by showing it like this he is to make the audience feel like it still happens in modern times. The director uses images and symbols to focus on emphasizing peace and religion. He uses a statue of Christ because it shows everyone what it represents. The statue represents peace and refers to the Catholic religion. By doing this, they are trying to make the viewer think that Verona needs peace. He also emphasizes on the two towers, because they show the rivalry between Montague and Capulet and the wealth of the families. It also represents both families having a say about what happens in the city. He also uses fire as a symbol, as fire represents danger, death and hell. Everything that is happening in Verona is due to the families. He also uses passion as a symbol, because as we know, passion is the theme of the story throughout as both ‘Romeo and Juliet’ are madly in love. In conclusion, it is clear to see that the director is trying to open the play up to a more modern audience such as teenagers. He has made it appealing to the young target audience by hiring young attractive actors to play Romeo and Juliet. He also uses flashy equipment such as guns and cars to make the story appear more modern and to try to attract the young audience. He also uses different music to show the personality, e. g. when the Montague boys come, the music changes to rap music, as they are young and modern. Lurhmann also uses different styles like exciting visual tricks to attract their attention.

Art Paper

Formal Analysis: The Metropolitan Museum of art boasts an impressive collection of art, among many other things. One piece that stood out the most was Saint John the Baptist Preaching, by Mattia Preti. Though the work has seemingly faded a bit over the last 360 years, it remains in superb condition, which leads one to believe it has been restored over time. It is this condition that caught my attention, surprisingly as dull as the piece appears; it stills pops when you make eye contact with it. Why does is pop? What about this work has my attention? My first thoughts were the artist’s ability to capture the human form with the amount of detail Mattia Preti had, was the drawing factor that brought me to choosing this as my focal point on my museum trip. The title is Saint John the Baptist Preaching, yet there are no subjects being preached to in the composition. Saint John is making direct eye contact with you as you are staring at him, which gives the sense of actually being in his presence, and listening to him preach. It seems Mattia Preti wanted the viewers to all feel like they were the ones being preached to from the arrangement of this piece of art. Saint John is situated in the middle of the canvas, slouched and leaning to his left in a sort of lazy posture, with his left hand over his heart. This to me says he is speaking of something in which he truly believes, or loves. Situated below him is a white lamb, which is apparent in many religious paintings, the relevance though escapes me. The human form is captured flawlessly, the artist’s ability to capture proper muscle tone and shape is uncanny, only if for a moment it seems this is a photograph taken in the 16th century. No small detail is over looked, looking closer you can actually see veins in the forearm and hand of the subject.

Term Paper on Fm Radio of Bangladesh

This report is based on the survey on the opinion about FM revolution in Bangladesh. As our course requirement was to prepare a term paper based on survey so we have selected FM industry as our project area. FM industry has taken a different look in our country now-a-days with the launch of three private FM stations. So the recent craze or popularity of FM stations is a very contemporary issue and can be referred as FM revolution. Therefore, we decided to conduct a survey to find out which is the most popular FM station and why?As Radio Today, Radio Foorti and Radio Amar are mostly listened so all of our questions for survey were asked regarding these three private FM stations. We surveyed 25 people aged from 15 to 27. Our questions were set in a manner so that we can find out which is the most popular FM station among Radio Today, Radio Foorti and Radio Amar and reason behind its popularity. We believe studying the popularity issues of FM stations would give us a comprehensive under standing of the current communication pattern in the media and it will expand our learning of this course of Business Communication.We have divided the objective of this report into two parts. One is general and the other is more specific. These objectives are stated below: General Objectives General objective of this report is to conduct a survey to find out which is the most popular FM station and why. To meet this goal we conduct a survey on 25 people aged from 15 to 27. According to the result of the survey we have developed this report. During our survey we aimed to understand some specific criteria which can be regarded as our specific objective. These are as follows: Specific ObjectivesTo find out the most popular FM station and reason behind its popularity we specified our questioner to the criteria as follows: Rating of popularity Major criteria for popularity General complains of listeners Suggestions We have collected our data from both primary source and secondary source . We have mostly used our textbooks and the Internet as the vehicle of the secondary source. In addition for our primary source of information we have conducted a survey on 25 people aged from 15 to 27. Then we have studied the gathered data and find the actual information of our project.We also use some graphs and tables to represent data in a grouped manner. We believe that the future scope of this report can be of very wide range. As FM industry has proved to be a promising sector in media of Bangladesh so knowledge of popularity trends of this sector is very helpful regarding to conduct future research. Our report also provides a clear and specific idea of the current program features of FM stations, complains and suggestions of listeners. So for developing a popular FM station this report can provide innovative ideas and suggestions after further research.We acknowledge that our report is not a comprehensive representation of all the information regarding FM industry. These dis crepancies are primarily due to the fact that our aim was to conduct a report which is very short and precise. So we only put focus on our specific objectives. As a result we put emphasis on recently launched three private FM stations. As our sample size of the survey was also very few so it is natural that we have able to cover a very precise and specific area regarding this report.Regardless, we have furnished the report to the best of our ability and we are willing to change any part of our report in light of new and credible information. Chapter Two Recent times have seen an upsurge in FM industry in Bangladesh. Specially Private sector FM (frequency modulation) band radio channels are becoming popular with the people in and around the Dhaka city, mainly to the students and young generation, for their differences in the presentation style and variation in news and other programs.Apart from the in-house listeners, many of the youngsters, who were used to carry MP3 players, now li sten to music and news on the FM radio-enabled mobile phone sets. A List of Bangladeshi radio stations is given below: National Bangladesh Betar FM Stations Radio Today FM 88. 0 Radio Foorti FM 89. 6 Radio Amar (Uniwave) FM 101 ABC (coming soon) Radio Metrowave Online Streaming Radio ONIYOM Bengali Live Classic Streaming But among all these stations recently launched three FM band stations— Radio Today, Radio Foorti and Radio Amar— are mostly listened by general people.These stations are currently on air with 100 kilometers radius that covers Dhaka and surrounding 15 districts. Because of the variety of contents, new way of presentation and technical superiority, FM radio is gaining popularly despite the operation of a number of television channels. Radio Today (FM 89. 6); the country’s first 24-hour radio station went on air on September 16. Radio Foorti, the country’s second 24-hour radio station and first entertainment and fun radio, went on air on Sep tember 21. Radio Foorti is purely for entertainment and fun. Radio Amar has been launched recently.Apart from these stations, another privately-owned FM band radio stations — Ayna Broadcasting Corporation— are coming on air soon with a challenge to make radio popular with the people in Dhaka and its adjoining districts. In developed countries, radio is still a very popular medium of entertainment and news and the objective of the authorities of the radio stations is also take radio to that level of entertainment art. In those countries, Radio is still a big part of their lifestyle, and in our country a niche has been carved recently for radio in the hearts of the people.Sakib, a student, said ‘Earlier I would carry a MP3 player. Now I just use my mobile phone set to listen to music and the news updates’. Radio Today simultaneously airs information and entertainment, which the authorities term ‘infotainment’. It covers news and views on politic al events, sports, education, business and commerce while Radio Foorti broadcasts music, talk show, celebrity show, advertisements and live programs of pure entertainment. Out of 2. 3 crore people in 16 districts, FM radio’s target audience include school, college and university students, housewives and executives.Age limit of their target audiences ranges between 16 years and 40 years. Persons aged over 40 years may also be listeners if they are still young in spirit. With the huge response of listeners these private FM stations are planning to be expanded throughout the country. As Radio Today, Radio Foorti and Radio Amar are mostly listened so all of our questions during survey were asked regarding these three private FM stations. We surveyed 25 people aged from 15 to 27. Our questions were set in a manner so that we can find out which is the most popular FM station among Radio Today, Radio Foorti and Radio Amar and why?According to our survey we have gathered some statist ical data and we have analyzed those data graphically and came to some assumption. Findings of our survey will be explained throughout the report. To find out the most popular FM station among the most listened Radio Today, Radio Foorti and Radio Amar we conducted a survey on 25 people aged from 15 to 27. We have prepared a structured questioner in order to get the information easily and quickly. We had in total 8 questions in our questioner which were asked basically to find out some specific criteria.In order to avoid biasness we set two opinion based questions as open questions. After completing survey we gathered some statistical data and we have analyzed those data graphically. Our entire survey can be divided into four parts. This are- These parts are briefly discussed below with necessary graphs and tables: 1st two questions of our survey were asked to judge the popularity of FM stations. We tried to find out the most popular FM station among the most listened Radio Today, Ra dio Foorti and Radio Amar. Our 1st question was- How do you feel about listening to radio?Options: Awesome Good Ok Bad The response to this question is shown below graphically: So from this graph we can understand that 12% of people from our survey said awesome, 60% said well (good), 20% said ok and only 8% said badly as their feelings about listening to radio. 2nd question was- Which station do you like most? Options: Radio Today-89. 6 FM Radio Foorti-88. 0 FM Radio Amar-101. 0 FM The responses to this question are shown below graphically: Among 25 people 7 said that they like Radio Today-89. 6 FM, 14 like Radio Foorti-88. 0 FM and 4 people like Radio Amar-101. FM. So from these two graphs we can easily understand that FM radio is very popular among most of the people and Radio Foorti-88. 0 FM is the most popular FM station among the most listened three private FM station. Radio today is the 2nd most popular FM station according to our survey. To analyze and understand the criteria for popularity of the FM stations we interviewed a several questions during our survey. These questions can be categorized into different topics. These categorical questions are explained graphically below with the responses: FeaturesFM stations use a number of attractive tools for their listeners which can be referred as features. These features include program features, Radio Jockey, songs, information, flexible accessibilities etc. To find out the most popular feature we set the 3rd question in our questioner as- Why do you like your preferred station? Options: Program features Radio Jockey Flexible accessibility Songs Information Among 25 people 8 said that they prefer Program features, 6 people prefer Radio Jockey, 4 people chose songs and 2 people chose information as their main reason behind likings about FM station.Again 5 people listen to their preferable FM station as this media of entertainment and information can be accessed flexibly from mobile, MP3 player and even car . So for them their favorite FM station is preferred because it does not require sitting in front of television or at any fixed place. They can easily tune to their favorite station at home, work or even at roads. These data are shown below graphically: So from this graph we can understand that program feature is the most popular feature among the listeners of FM channels.To find out what type of program is most popular we asked another question during our survey- Which type of program of FM do you like most? Options: Informative Celebrity show & Talk show Request show (SMS sending segment) Quiz contest Among 25 people 2 people like informative show, 11 people like celebrity show & talk show, 7 people like request show and 5 people like quiz contest show most. This information is represented graphically below: So from this graph we can assume that celebrity and talk shows are most popular at FM. Sound QualityAs FM channels are enjoyed through listening so quality of sound is a matte r of consideration for popularity of FM stations. To find out how the listeners are reacting to the sound quality of various stations we asked two questions. These are as follows- Which station’s sound quality seems better to you? Options: Radio Today-98. 6 FM Radio Foorti-88. 0 FM Radio Amar-101. 0 FM Among 25 people 13 people said that sound quality of Radio Today is better, 7 people said sound quality of Radio Foorti is better, 5 people said sound quality of Radio Amar is better.This information is represented graphically below: So from this graph it is clear that sound quality of Radio Today seems comparatively better to the majority. To analyze which is important to listeners in terms of choosing preferable station we asked another question- Which is important to you in terms of choosing your preferable station? Options: Sound Quality Program Features Both From these options 6 persons chose sound quality, 12 persons selected both and 7 people selected program features. T his information is represented below graphically:So from this graph we can easily understand most of the people prefer both sound quality and program features. In order to avoid biasness, in our questioner we have included an open question stated as- Any complain against FM stations? We have received various opinions as answers for this question. 12 people said that advertisement on FM is very boring, 5 people said that there are lack of certain programs such as special program for children and aged people, religious program etc, 8 people complained that there is no access from rural area.These numerical values are represented below graphically: In order to avoid biasness, in our questioner we have included an open question stated as- Any suggestion for FM industry? We have received various opinions as answers for this question. 8 people said that some specific program should be included such as- career info, education tips etc, 12 people said FM should be expanded throughout the co untry and 5 people said that more FM stations should be launched. These numerical values are represented below graphically: Chapter ThreeOn the basis of our survey and analysis conducted in previous chapter we are finally enriched with some valuable findings regarding FM industry. These findings are listed below: FM channels, specially the private FM stations have become popular now-a-days. Majority (92%) of the people whom we have interviewed during our survey feel positive about listening to radio. Among the three recently launched private FM station Radio Foorti is most popular and Radio Today is second most popular FM station according to our survey.Likings about program feature are the most popular reason for preferring individual’s favorite FM station. The second common reason for listening to favorite station is attractive and interesting Radio Jockey. Another important reason for choosing a favorite radio station as a media of entertainment is its flexible accessibili ty. According to our survey among different programs celebrity and talk shows are most popular. The least popular is the informative features. According to our survey we have found that sound quality of Radio Today seems better to the majority.On the other hand most of the people put emphasis both on program features and sound quality. So Radio Foorti becomes the most popular FM station satisfying all these criteria as a result of our survey. The most general complain that we have came across is against boring advertisement on FM. Most of the people have recommended expanding these FM stations throughout the country. On the basis of the general complains and suggestion of listeners that we came across during our survey we would like to recommend a few points to the FM industry as a whole.These recommendations are- Advertisements on FM should be made more interesting as majority of the people (48%) whom we have interviewed have complained against boring advertisement on FM. Some spec ific program, for example- special program for children and aged, religious program, career info, education tips, political talk shows should be introduced on FM to meet the listener’s demand. FM stations should be expanded throughout the country so that it is accessible from anywhere. FM industry has been focused under the lime light recently.Introduction of three private FM stations have created a new craze among young generation specially. This popularity can be referred as FM revolution. Throughout this report we have tried to analyze the statistical data gathered during survey. We aimed to find out which is the most popular FM station and why? The result of our survey is that the most popular FM station is Radio Foorti as it has been able to create a good harmony with the listeners. As our sample size of the survey was vey small so it is natural that this result could be vary while surveying on large number of people.Again the people we have interviewed are aged from 15 to 27. So they mainly represent the young generation. Surveying on different age group may result in different answer. So we acknowledge that due to these limitations stated above there some variation might arise. Regardless we will retract or modify any part of this report or recommendations if that may contradict with any real information. www. radiofoorti. fm (accessed date: 1st April-21st April) www. radiotodaybd. fm (accessed date: 1st April-21st April)