History of bootlegging Essay Example for Free

History of bootlegging Essay 1. Background on Bootlegging It has been said that â€Å"at its real level music belongs to everyone†. To claim ownership over music has been the subject of much analysis since music, after all, is available to each individual through our sense of hearing. Maintaining control or possession of â€Å"our† music is not as clear cut as meting out our rights to our land or property. To listen to a song someone else has written, for instance, does not necessarily constitute stealing or trespassing on someone else’s property. The best way to ensure our right and title over our musical creations is to get a copyright over the original piece. Yet it is not uncommon for a listener or a music lover or fan to record a favorite song or a particularly memorable concert attended. People record songs, concerts, and videos and keep such recordings for personal use, or make copies thereof to give to their friends. Songs and videos are also easily downloaded from the Internet. Fans also record different songs and performances, from different albums or concerts, into one CD or online play list to make their own personal collection. The problem is when such recordings are distributed and sold for profit without the artist and the record company’s consent. Generally, copyright violations involving musical creations may be distinguished into three different types : 1) professional counterfeit recordings (unauthorized duplication of sound and art work) 2) professional pirate recordings (unauthorized duplication of the sound, but with original art work, usually sold as â€Å"greatest hits† compilations 3) bootleg recordings (unauthorized recording of live performances) Bootlegging, as it was traditionally defined, involves â€Å"the illegal distribution or production of liquor and other highly taxed goods† In the 1920s, the United States had a Prohibition against alcohol, thus people resorted to bootlegging, or buying and selling an illegal product, from bootleggers. Organized crime consisting of gangs and mobsters in Chicago and New York, such as Al Capone, were deeply involved in bootlegging. In the music industry, music bootlegging involves the taking and trading of unauthorized live recordings of live musical performers either from concert or studio outtakes. Bootleg music albums are recordings transferred from tape to vinyl or CD. They become a bootleg product when a bootlegger undertakes to create an artifact or when a non-commercial recording is transformed into a commercial product in the form of an LP or a CD. Bootleg recordings are usually done without the artist’s consent ; however, making a recording of a concert is not illegal per se. Although an individual cannot legally record an officially release CD or cassette tape on to a blank tape, he or she may make an unauthorized recording of a concert and keep it for personal use. However, the sale of such a recording is deemed illegal.  The problems with bootlegging is that it prevents the artist and the record company from maintaining quality control over their product , and it prevents them from collecting their royalties to their right to their music. 2. Changes in Copyright Laws Copyright is defined as â€Å"a form of protection provided by the laws of the United States (title 17, U. S. Code) to the authors of ‘original works of authorship’† . The U. S. has passed significant copyright laws to protect an artist’s right to his or her original creations. These creations include not only musical works, but literary, dramatic, artistic and certain intellectual creations. The U. S. Constitution itself provides that â€Å"the Congress shall have power†¦ to promote the progress of science and useful arts, by securing for limited times to authors and inventors the exclusive right to their respective writings and discoveries. † The State thus allows Congress to pass copyright laws to protect an artist’s rights to his or her musical creations. The U. S. Copyright Act was amended in 1976 so that it now covers new technological advancements and extended the term of protection to cover the life of the author plus 70 more years. Copyright laws allow the author, artist, or whoever holds the copyright to a creation to sue those who infringe on their copyrights for damages. The complainant has to prove infringement of copyright by a) proving ownership of the copyright and b) copying by the infringer-defendant. In compliance with its Constitutional mandate of protecting original works of authorship, the Congress has passed several laws concerning music copyright infringement, piracy and bootlegging. Some of the relevant laws will be discussed in this section. The Audio Home Recording Act allows music retailers to sell all analog and digital recording formats. It also gives a consumer the right to use such recordings provided such use is for non-commercial purposes, and in such cases, no copyright infringement lawsuit may be brought against a consumer. The consumer and retailer is also exempt from making royalty payments on digital audio recording devices and media; the burden falls on U. S. manufacturers and importers only who must pay for digital audio devices designed or marketed primarily for making digital audio recordings for private use, whether or not these are incorporated in some other device. These royalty payments are administered and monitored by the U. S. Register of Copyrights and the Librarian of Congress, with the proceeds split between the featured artists and the record company, or between the songwriters and music publishers, depending on the circumstances. Musical artists or musicians thus receive royalties which are based on record sales and airplay during a prescribed period. The U. S. is also a signatory of both the World Intellectual Property Organization Copyright Treaty and the Performances and Phonograms Treaty. In accordance with these international agreements, the U. S.  Congress passed the Digital Millennium Copyright Act which makes it a crime to a crime to circumvent anti-piracy measures built into many of today’s commercial software and even most music CDs. The Act also limits the copyright infringement liability of ISPs for transmitting information over the Internet, but requires that ISPs remove copyright infringement materials found in users’ web sites. Despite legislative acts and proposed bills by well meaning members of the U. S. Congress, and jurisprudence laid down by the U. S. Supreme Court, infringers still find a way of getting around copyright laws by invoking the â€Å"fair use† doctrine. The U.  S. Code provides that the public is entitled to the â€Å"fair use† of copyrighted material. â€Å"Fair use† is â€Å"a privilege to use copyrighted material in a reasonable manner without consent, notwithstanding the copyright monopoly granted to the owner. † A copyrighted original creation may be reproduced for purposes of criticism, news reporting, comment, teaching, scholarship and research. The Code further provides that there are four factors in determining whether there is â€Å"fair use† of a copyrighted material or not : 1) the purpose and character of the use, including whether such use is of commercial nature or is for nonprofit educational purposes ) the nature of the copyrighted work itself 3) the proportion and substantiality of the copyrighted work actually used without authority 4) the potential economic detriment on the value of the work caused by such unauthorized use thereof. What makes it especially difficult to enforce the copyright is that information is so readily available through the Internet. As music is downloaded courtesy of digital technology, consumers are turning to the Internet to get their music rather than going out to music stores to buy the CDs. Bootlegged albums are also easily transmitted and shared through the Internet. Digital technology allows consumer to reproduce identical copies of digital music files, most commonly in compression formats such as MP3s. Such digital advancements not only pave the way for more widespread bootlegging, but for music piracy as well. 3. Advancements in Piracy Technology: File Sharing Piracy, as earlier discussed, is differentiated from bootlegging in that the former involve the unauthorized duplication of the sound, but with original art work. Piracy involves the reproduction and distribution of copies of original recordings. Advancements in digital technology have allowed music piracy to develop at an alarming rate. MP3s enable consumers to compress digitized music into smaller files, while ripping software allows them to copy music from CDs, store these on their hard drives, and then convert these files into compressed formats. Digital file reproduction devices, like CD players, in turn allow consumers to write these files into a CD and in effect create their own albums and compilations of copyrighted creations. Peer-to-peer (P2P) networks have also allowed increased music dissemination, as well as file sharing, as introduced by the infamous Napster software company. P2P networks basically offer users to access the hard drives of other users anywhere in the world by the installation of a piece of software. These networks allow users to search, copy and transfer music files typically through MP3 files. After Napster, subsequent P2P networks version, like KaZaA and Grokstar, which are collectively known as the FastTrack providers, allow users to access multiple individual computers instead of accessing just one single, centralized database of music files. The digital audio workstation (DAW) on the other hand, allows users to indulge in â€Å"sampling† – original music recordings, converted from analog to digital format, which users can import, cut, copy, layer and manipulate to create new musical work. Since samples may be in a band’s entire song, or merely passages from an instrument, in effect it allows not just users but even musicians and DJs to create, layer, expand and redefine music. Recording companies have resorted to copy-protection technology to protect themselves from piracy committed through file sharing and P2P networks. Copy-protected CDs is one answer, but public backlash and concerns about the technology’s effectiveness, have forced recording companies to limit use of such CDs in the U. S. and instead opted to release such CDs abroad in Europe and countries such as Japan. Five major recording companies in the U. S. use copy-protected CDs: BMG Entertainment, Universal Music Group, Warner Music Group, EMI, and Sony. BMG in particular has made us of copy-protection advancements such the MediaMax CD-3 technology from SunnComm Technologies, Inc. located in Phoenix, Arizona. Through MediaMax CD-3, each song is written onto a CD twice. One format is readable by standard CD players while the other format is readable as a Windows media file playable on a computer. The technology allows consumers of BMG records to burn each track only three times per computer. The songs in BMG albums embedded with the MediaMax CD-3 technology may also be emailed to a limited number of people. However, each person in that limited list may only listen to ten times to each song in the album. In other words, songs in such CDs are locked and won’t be played even if they are downloaded from file-sharing networks if it exceeds the allowable number of times a person may listen to the track. Other developments are even more rigid. The CDS-300 developed by Macrovision, located in Santa Clara, California, allows CDs to be burnt and listened to online, but blocks other attempts to make copies or share music online. Recording companies thus are faced with a difficult balancing act. On the one hand, there is the need to respect a consumer’s desire to share, copy and hear songs in different ways. But on the other hand, there is the copyright to take note of and the bottom line – earning revenues through royalties by limiting the number of copies consumers make of copyrighted musical creations.

Postmodernism in Amélie (2001)

Postmodernism in Amà ©lie (2001) With reference to key theories studied on the module and one of the films from the given list, critically analyse the image system of the film, and the ways in which supports to convey specific meanings. You must comment on the way in which the narrative, meaning and mood are supported by the formal elements, and draw connections with the relevant historical, cultural and genre contexts. My essay will argue that the image system of Amà ©lie (2001) and the post-modern style adapted by Jean Pierre Jeunet, was one of the key aspects which lead to the film’s huge success worldwide. I intend to explore how the levels of realism and formal elements within the film, develop the narrative and mood, with reference to historical developments in French film and critical viewpoints. To clarify, when I say foreign film, I am referencing the films which are foreign to Hollywood and the other predominant production companies in western culture. The film Le fabuleux destin dAmà ©lie Poulain was highly successful not only in France, but around the world, with a Domestic Total Gross of $33,225,499. It was also nominated for five academy awards including Best Foreign Film (Box Office Mojo). The film has a very distinct â€Å"look† derived from its image system and form, which has become part of French director Jean-Pierre Jeunet’s auteuristic style. He has been described by Eisenreich (2004) as â€Å"the national filmmaker who develops the richest visual world, combined with a technical mastery and artistic sense†. There are many critical essays and reviews written on the stem of Amà ©lie’s success in the mainstream film industry, many putting it down to the feel-good nature of the narrative, others suggesting it was the unique cinematography and mise en scene. Elizabeth Ezra (2008) states that Jean Pierre Jeunet, as an auteur, has a highly postmodern style. I am inclined to agree with this point, as Amà ©lie is such a stylised film that the viewer is rarely emerged completely in the film. The audience is always aware that they are in fact watching a carefully structured and composed piece of work. According to Braudy and Cohen (1999) postmodern cinema is a deliberate mixing of different genres and film styles, pastiche and exposing the nature of a constructed text. As filmmakers, such as Jean Pierre Jeunet, are becoming increasingly aware of their audience’s active role in viewing their films, they have begun to use the conventions of postmodern cinema to their advantage. An example of a postmodern device often used in Amà ©lie is â€Å"breaking the fourth wall† where the character directly addresses the viewer. Amà ©lie looks directly at the camera in many close-up shots. These shots are carefully composed and use a wide lens, creating more depth in the frame. This also distorts her already elfish face, emphasizing her large eyes with an expression that includes the audience in whatever joke or feeling she is experiencing. This technique is an easy way for Jeunet to emphasise her role in the narrative and engage the audience so that she is a sympathetic character to the viewer. As well as the distinct postmodern style, Jeunet seems to take inspiration from older film techniques. In Rà ©mi Fournier Lanzoni’s book French Cinema: From its Beginnings to the Present (2002) it is noted that the locations and characters in Amà ©lie are highly reminiscent of Poetic Realism films, a movement of French cinema in the 1930s that combined â€Å"naturalism and lyrical stylization† (Lanzoni 2002). The majority of the film was shot on location in the centre of Paris; however, unattractive aspects such as graffiti and rubbish bins were digitally removed in post-production. Using this technique meant that even the real modern Paris resembled the poetic-realist sets of the 30s. In my opinion, this approach makes the film feel removed from any particular timeframe, as if it is an ecosystem unaffected by the concerns of the wider world. This also means that it is strongly juxtaposed with the gritty realism of social dramas set in Paris made at a similar time, su ch as Mathieu Kassovitz’s â€Å"La Haine† (1995). Steinberg (2001) argues that this makes Amà ©lie seem highly unrealistic, saying â€Å"Jeunet’s Paris is a thoroughly sanitised version of the real thing; clean, free from honking cars, tourists, foreigners and other complications. Even the beggars are happy in such an idyllic Paris† Adding to the slightly surreal version of Paris created by Jeunet is the bold colour palette, the most dominant colours being red and green, often complemented by yellow. These colours create a very warm and positive tone to the film, as they seem to emulate old footage and perhaps evoke a nostalgic response from the viewer. This again distances the film from modern day, despite the use of modern day technology. The colour red could also be recognised as a motif in the film, as it is present in almost every scene; Amà ©lie’s clothes, the garden gnome’s hat, the flowers and tables in the cafe as well as many other objects. Jeunet also uses black and white when providing flashbacks, such as Bretodeau’s memories conjured by the treasure Amà ©lie leaves him. This may have been done simply so that it would fit with the archive footage of the Tour de France; however I believe that it also provides a contrast with the bright bold colours in the rest of the film. Stanley Cavell proposed that in cinema, often, black and white represents reality whereas bright colour portrays fantasy (Cavell 1979). In Amà ©lie, the narrative is focused on the main character; therefore the abnormal colours used could be seen as representative of her highly imaginative and playful outlook on life. This also suggests that the reality which the viewer is witnessing may perhaps be entirely constructed from Amà ©lie’s imagination. Ben-Shaul (2007) explains that some films attempt to make their simulacrum so believable that it is â€Å"invisible†, so that the characters and situation are the primary focus for the viewer. Others use an obvious range of cinematic techniques to replicate a certain type of reality the filmmaker wants the audience to experience. As previously mentioned, the mise en scene of Amà ©lie seems to be a product of Amà ©lie’s imagination; this means that the film becomes somewhat hyper-realistic. Baudrillard’s theory of â€Å"Hyperreality† (1994) describes when a film blends both reality and fantasy together so seamlessly that it is hard to tell what is real and what is not. I think that this is an essential theory to consider when understanding Amà ©lie, as some parts of the film which might be taken literally, may perhaps be figments of her imagination. However, many aspects of the film show very obvious uses of CGI, such as the imaginary crocodile that Amà ©lie plays with as a child. There are many comical moments in the film, for instance Amà ©lie quite literally breaking down into tears after not plucking up the courage to speak to Nino. There are also more serious uses of special effects, which are very noticeable, yet more subtle, for example Amà ©lie’s daydream of Nino sneaking up behind her in the kitchen. This sequence uses a split screen which resembles a thought bubble, showing Nino approaching Amà ©lie’s back whilst larger section of the frame shows Amà ©lie’s reactions from the front view. The use of these techniques, especially the animation, contribute to the film’s novelty factor, surprising and exciting the audience. If his use of CGI tells us anything about Jeunet’s auteur style, it is that he is not concerned with absolute realism. He enjoys the artifice of film and extends it as far as he can, integrating the fanciful with the actual while avoiding â€Å"cheesiness†. Equally important in creating Jeunet’s uncompromised auteuristic style is the wide range of shots, angles, and editing techniques. Vanderschelden (2007) notes that many of the camera techniques used throughout the film are â€Å"playful†¦reinforcing the light-hearted, cartoon-like tone†. I agree strongly with this statement, as the film is rich with interesting and unusual camera angles and pans, which perfectly reflect the characters portrayed. Montage sequences are liberally used in Amà ©lie, and are a key element to the style of the film. The whole opening of the film appears to be montage, the very fast paced shots of Amà ©lie’s childhood, from conception, to birth, to being five years old, to being fully grown up. According to Eisenstein’s Montage theory, the juxtaposition of opposites or similarities allows the filmmaker to shape the mind and emotions of the viewer. I feel that Jeunet chose to show Amà ©lie growing up at such a roaring pace, juxtaposing her childhood years and adult years, to show the audience how much she has changed and how much she has stayed the same. This device not only adds a â€Å"quirky humour† to the film, but it also introduces the fast paced and frantic tone of the film, allowing the viewer to gain a lot of ‘pointless’ information in a very short amount of time. The use of sped up footage is used throughout the film, accompanied by loud sound effects to keep the pace of the film up. The pacing up also works to create a surreal and quirky feel to the film. An example of this is when Amà ©lie cuts up the letters in a blur of speed. I found this added a little cartoon-like element to the film, as well as allowing the viewer to understand what it happening. Other examples of this in the film are the sped-up linking shots between Amà ©lie visiting the various Bedoteaux (not Betodeau), again accompanied by racing car noise sound effects. Another technique Jeunet uses in Amà ©lie is the use of a handheld camera. An example of this is in the fast paced scene where Amà ©lie takes the blind man by the arm and tells him what she sees. The handheld camera adds to the spontaneity of the scene, as it follows Amà ©lie’s sudden decision to help people. The scene is over very quickly, leaving the blind man stood appreciating what has just happened, and the handheld camera turns into a crane shot which swoops above, highlighting the significance of that moment. Often in films such as Mathieu Kassovitz’s â€Å"La Haine† (1995) the handheld camera is a technique which adds realism and makes the film seem much more dramatic. I feel that in Amà ©lie, the opposite effect is achieved, as the handheld camera is not used extensively, and is only used in times of excitement and joy, such as the final scene of Nino and Amà ©lie riding on the moped in a fairytale-like ending. Instead of adding realism, the handhel d camera conforms to Jeunet’s unique style, and adds to the surrealism of the film. Jeunet successfully uses a lot of panning and tracking, adding also to the fast pace established by the other techniques. For long periods of the film there is constant fluid movement, with the camera circling characters or swooping over scenes. The audience is often placed in an observing position, with the camera standing at a distance to the action. We are used to this convention in film but we are also used to being invited to get close into the action when it is appropriate, for instance if there is an important conversation. There are some occasions in Amà ©lie where we expect to be closer in to the action than we are, for example in the closed cafe, when Amà ©lie suggests to Georgette that Joseph likes her, we are positioned in a corner behind the stacked chairs, as if suggesting that we are eavesdropping on the conversation. This adds an air of secrecy and mystery in the film. An extension of this is when we see the action through a window, or an actual physical barrier, such as the conversation between Amà ©lie and Nino in the cafe where they talk through the glass screen. And removing the audience even further, binoculars and video cameras are used by the characters in the film in some scenes, lending an air of voyeurism to their, and consequently our, role. In addition, the film appears to be shot as a picture. Many of the scenes are framed; each looked pretty as a postcard and reflected her status of an observer. Scenes framed as pictures.

Ernest Hemingway :: essays research papers

Ernest Hemingway best exemplifies his hero code in his novels The Sun Also Rises and The Old Man and The Sea through his protagonists Jake Barnes and Santiago. The honor code for each of these characters means avoiding and struggling against the meaninglessness of life (nada) and instead embracing a passion for life which they demonstrate by means of their actions and feelings. The Hemingway code embodies principles that govern the actions of Hemingway’s main protagonists in his novels. They are “rules which if completed would become...the manual of conduct'; (Waldhorn 26). As Arthur Waldhorn says “the Hemingway code does not ask that a hero be fearless or entertain illusions about refuge or escape. But it insists that he discipline and control his dread and, above all, that he behave with unobtrusive though unmistakable dignity'; (26). “The code that does concern Hemingway and his tyros is the process of learning how to make one’s passive vulnerabilities (to the dangers and unpredictabilities of life) into a strong rather than weak position, and how to exact the maximum amount of reward (honor, dignity) out of these encounters'; (Rovit 92). In advance, a character knows what is expected of him in the game of life, although he does not know what combination of challenges will be imposed on him at any one given time (91). Heming way’s belief in the freedom of the individual to make responsible choices was paid for at the painful expense of having to constantly wage battle with the unpredictable future. Because a character does not know what will happen to him, he must endure whatever challenges are thrown upon him. This ability to react to a variety of differing challenges is only acquired through training and experience of each unique challenge (91). Not only must Hemingway’s hero face the unpredictablilities of life with honor and dignity, but he must also face the challenges alone. “Each man faces his struggle alone...for only as solitary individuals can they assert their manhood'; (Weeks 165). Robert Weeks states that a man must depend upon himself alone in order to assert his manhood, and the assertion of his manhood, in the face of insuperable obstacles, is the complete end and justification of his existence for the Hemingway hero (164). While alone man can make promises to himself but if he fails he must be able to forgive himself for his mistakes and inadequacies (Rovit 97).

Emotional Intelligence and Relationships in Business Management Essay

Emotional Intelligence and Relationships in Business Management  ¡Ã‚ §Anyone can become angry  ¡V that is easy. But to be angry with the right person, to the right degree, at the right time, for the right purpose, and in the right way  ¡V this is not easy. ¡Ã‚ ¨ ~ By Aristotle, The Nicomachean Ethics ~ Traditionally, management were only interested on return on investment (ROI) and shareholder value, not the neurobiology of emotions doing business. However, in modern days, there is probably nothing as important as having good human relationships in the workplace. Whether one is a chief executive officer, a consultant, a manager or team member, achieving results requires a productive working relationship with others. As such, having positive and sustainable human relationships is the bedrock for business effectiveness. According to Goleman,  ¡Ã‚ §Emotional Quotient (EQ) defines our capacity for relationship (Goldmen 1995) ¡Ã‚ ¨ and added,  ¡Ã‚ §Rational intelligence only contributes about 20% to the factors that determine success in life. Some extraneous factors such as luck, and particularly the characteristics of EQ, constitute the other 80% (Goldmen 1995). ¡Ã‚ ¨ WHAT IS EMOTIONAL QUOTIENT? By themselves, the discoveries in Emotional Quotient (EQ) are not new. Over the centuries, there have been numerous studies conducted to understand the workings  ¡Ã‚ ¥emotions ¡Ã‚ ¦ and its practical importance. One of the earliest historical literature recordings dates back to 1st century B.C by Publilius Syrus, a Latin writer of mimes. Syrus states,  ¡Ã‚ ¥Rule your feelings, lest your feelings rule you ¡Ã‚ ¦ (Hang 1999). In other words, people should take control of their feelings and emotions rather then allowing it to control their intellect and values (also known as emotional-hijacking). Today ¡Ã‚ ¦s contemporary authors have since further expanded Syrus ¡Ã‚ ¦ definition, which subsequently lead to the development of the EQ concept. EQ can be simply defined as:  ¡Ã‚ §EQ is the ability to sense, understand, and effectively apply the power and acumen of emotions as a source of human energy, information, connection and influence. ¡Ã‚ ¨ ~Robert Cooper and Ayman Sawaf~ (Source: Hang 1999)  ¡Ã‚ §EQ is the ability to monitor one ¡Ã‚ ¦s own and other ¡Ã‚ ¦s feelings, to discriminate among them and to use this information to guide one ¡Ã‚ ¦s thinking and actions. ¡Ã‚ ¨ ~Peter Salovey and John Mayer~ (Source: Salovey & Mayer 199... ...3  Ã‚  Ã‚  Ã‚  Ã‚  3.32  Ã‚  Ã‚  Ã‚  Ã‚  .22  Ã‚  Ã‚  Ã‚  Ã‚  .62  Ã‚  Ã‚  Ã‚  Ã‚  -2.96  Ã‚  Ã‚  Ã‚  Ã‚  .008* Achievement Orientation   Ã‚  Ã‚  Ã‚  Ã‚  4.28  Ã‚  Ã‚  Ã‚  Ã‚  .65  Ã‚  Ã‚  Ã‚  Ã‚  4.73  Ã‚  Ã‚  Ã‚  Ã‚  .56  Ã‚  Ã‚  Ã‚  Ã‚  .25  Ã‚  Ã‚  Ã‚  Ã‚  -1.23  Ã‚  Ã‚  Ã‚  Ã‚  .23 Initiative  Ã‚  Ã‚  Ã‚  Ã‚  3.25  Ã‚  Ã‚  Ã‚  Ã‚  .32  Ã‚  Ã‚  Ã‚  Ã‚  3.42  Ã‚  Ã‚  Ã‚  Ã‚  .26  Ã‚  Ã‚  Ã‚  Ã‚  .59  Ã‚  Ã‚  Ã‚  Ã‚  -2.36  Ã‚  Ã‚  Ã‚  Ã‚  .03* Social Skills   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Developing Others   Ã‚  Ã‚  Ã‚  Ã‚  3.17  Ã‚  Ã‚  Ã‚  Ã‚  .40  Ã‚  Ã‚  Ã‚  Ã‚  3.18  Ã‚  Ã‚  Ã‚  Ã‚  .46  Ã‚  Ã‚  Ã‚  Ã‚  .02  Ã‚  Ã‚  Ã‚  Ã‚  -0.15  Ã‚  Ã‚  Ã‚  Ã‚  .89 Leadership  Ã‚  Ã‚  Ã‚  Ã‚  3.20  Ã‚  Ã‚  Ã‚  Ã‚  .46  Ã‚  Ã‚  Ã‚  Ã‚  3.27  Ã‚  Ã‚  Ã‚  Ã‚  .39  Ã‚  Ã‚  Ã‚  Ã‚  .17  Ã‚  Ã‚  Ã‚  Ã‚  -0.83  Ã‚  Ã‚  Ã‚  Ã‚  .42 Influence  Ã‚  Ã‚  Ã‚  Ã‚  3.88  Ã‚  Ã‚  Ã‚  Ã‚  .37  Ã‚  Ã‚  Ã‚  Ã‚  3.98  Ã‚  Ã‚  Ã‚  Ã‚  .32  Ã‚  Ã‚  Ã‚  Ã‚  .29  Ã‚  Ã‚  Ã‚  Ã‚  -1.02  Ã‚  Ã‚  Ã‚  Ã‚  .32 Communication  Ã‚  Ã‚  Ã‚  Ã‚  3.19  Ã‚  Ã‚  Ã‚  Ã‚  .35  Ã‚  Ã‚  Ã‚  Ã‚  3.35  Ã‚  Ã‚  Ã‚  Ã‚  .33  Ã‚  Ã‚  Ã‚  Ã‚  .47  Ã‚  Ã‚  Ã‚  Ã‚  -2.24  Ã‚  Ã‚  Ã‚  Ã‚  .04* Change Catalyst  Ã‚  Ã‚  Ã‚  Ã‚  3.85  Ã‚  Ã‚  Ã‚  Ã‚  .45  Ã‚  Ã‚  Ã‚  Ã‚  4.00  Ã‚  Ã‚  Ã‚  Ã‚  .53  Ã‚  Ã‚  Ã‚  Ã‚  .31  Ã‚  Ã‚  Ã‚  Ã‚  -1.73  Ã‚  Ã‚  Ã‚  Ã‚  .10 Conflict Management  Ã‚  Ã‚  Ã‚  Ã‚  3.06  Ã‚  Ã‚  Ã‚  Ã‚  .35  Ã‚  Ã‚  Ã‚  Ã‚  3.23  Ã‚  Ã‚  Ã‚  Ã‚  .35  Ã‚  Ã‚  Ã‚  Ã‚  .49  Ã‚  Ã‚  Ã‚  Ã‚  -1.91  Ã‚  Ã‚  Ã‚  Ã‚  .07* Building Bonds  Ã‚  Ã‚  Ã‚  Ã‚  3.46  Ã‚  Ã‚  Ã‚  Ã‚  .36  Ã‚  Ã‚  Ã‚  Ã‚  3.50  Ã‚  Ã‚  Ã‚  Ã‚  .36  Ã‚  Ã‚  Ã‚  Ã‚  .11  Ã‚  Ã‚  Ã‚  Ã‚  -0.73  Ã‚  Ã‚  Ã‚  Ã‚  .47 Teamwork & Collaboration  Ã‚  Ã‚  Ã‚  Ã‚  4.06  Ã‚  Ã‚  Ã‚  Ã‚  .54  Ã‚  Ã‚  Ã‚  Ã‚  4.10  Ã‚  Ã‚  Ã‚  Ã‚  .51  Ã‚  Ã‚  Ã‚  Ã‚  .08  Ã‚  Ã‚  Ã‚  Ã‚  -0.37  Ã‚  Ã‚  Ã‚  Ã‚  .72 (Source: Sala 2004) Table 1 Differences between EI Levels of the Total Participants Prior (T1) and After (T2) participating in the EI workshops * Note: Differences were considered meaningful, or significant, if effect sizes were moderate or large and if paired-samples t-tests statistically significant (p Emotional Intelligence and Relationships in Business Management Essay Emotional Intelligence and Relationships in Business Management  ¡Ã‚ §Anyone can become angry  ¡V that is easy. But to be angry with the right person, to the right degree, at the right time, for the right purpose, and in the right way  ¡V this is not easy. ¡Ã‚ ¨ ~ By Aristotle, The Nicomachean Ethics ~ Traditionally, management were only interested on return on investment (ROI) and shareholder value, not the neurobiology of emotions doing business. However, in modern days, there is probably nothing as important as having good human relationships in the workplace. Whether one is a chief executive officer, a consultant, a manager or team member, achieving results requires a productive working relationship with others. As such, having positive and sustainable human relationships is the bedrock for business effectiveness. According to Goleman,  ¡Ã‚ §Emotional Quotient (EQ) defines our capacity for relationship (Goldmen 1995) ¡Ã‚ ¨ and added,  ¡Ã‚ §Rational intelligence only contributes about 20% to the factors that determine success in life. Some extraneous factors such as luck, and particularly the characteristics of EQ, constitute the other 80% (Goldmen 1995). ¡Ã‚ ¨ WHAT IS EMOTIONAL QUOTIENT? By themselves, the discoveries in Emotional Quotient (EQ) are not new. Over the centuries, there have been numerous studies conducted to understand the workings  ¡Ã‚ ¥emotions ¡Ã‚ ¦ and its practical importance. One of the earliest historical literature recordings dates back to 1st century B.C by Publilius Syrus, a Latin writer of mimes. Syrus states,  ¡Ã‚ ¥Rule your feelings, lest your feelings rule you ¡Ã‚ ¦ (Hang 1999). In other words, people should take control of their feelings and emotions rather then allowing it to control their intellect and values (also known as emotional-hijacking). Today ¡Ã‚ ¦s contemporary authors have since further expanded Syrus ¡Ã‚ ¦ definition, which subsequently lead to the development of the EQ concept. EQ can be simply defined as:  ¡Ã‚ §EQ is the ability to sense, understand, and effectively apply the power and acumen of emotions as a source of human energy, information, connection and influence. ¡Ã‚ ¨ ~Robert Cooper and Ayman Sawaf~ (Source: Hang 1999)  ¡Ã‚ §EQ is the ability to monitor one ¡Ã‚ ¦s own and other ¡Ã‚ ¦s feelings, to discriminate among them and to use this information to guide one ¡Ã‚ ¦s thinking and actions. ¡Ã‚ ¨ ~Peter Salovey and John Mayer~ (Source: Salovey & Mayer 199... ...3  Ã‚  Ã‚  Ã‚  Ã‚  3.32  Ã‚  Ã‚  Ã‚  Ã‚  .22  Ã‚  Ã‚  Ã‚  Ã‚  .62  Ã‚  Ã‚  Ã‚  Ã‚  -2.96  Ã‚  Ã‚  Ã‚  Ã‚  .008* Achievement Orientation   Ã‚  Ã‚  Ã‚  Ã‚  4.28  Ã‚  Ã‚  Ã‚  Ã‚  .65  Ã‚  Ã‚  Ã‚  Ã‚  4.73  Ã‚  Ã‚  Ã‚  Ã‚  .56  Ã‚  Ã‚  Ã‚  Ã‚  .25  Ã‚  Ã‚  Ã‚  Ã‚  -1.23  Ã‚  Ã‚  Ã‚  Ã‚  .23 Initiative  Ã‚  Ã‚  Ã‚  Ã‚  3.25  Ã‚  Ã‚  Ã‚  Ã‚  .32  Ã‚  Ã‚  Ã‚  Ã‚  3.42  Ã‚  Ã‚  Ã‚  Ã‚  .26  Ã‚  Ã‚  Ã‚  Ã‚  .59  Ã‚  Ã‚  Ã‚  Ã‚  -2.36  Ã‚  Ã‚  Ã‚  Ã‚  .03* Social Skills   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Developing Others   Ã‚  Ã‚  Ã‚  Ã‚  3.17  Ã‚  Ã‚  Ã‚  Ã‚  .40  Ã‚  Ã‚  Ã‚  Ã‚  3.18  Ã‚  Ã‚  Ã‚  Ã‚  .46  Ã‚  Ã‚  Ã‚  Ã‚  .02  Ã‚  Ã‚  Ã‚  Ã‚  -0.15  Ã‚  Ã‚  Ã‚  Ã‚  .89 Leadership  Ã‚  Ã‚  Ã‚  Ã‚  3.20  Ã‚  Ã‚  Ã‚  Ã‚  .46  Ã‚  Ã‚  Ã‚  Ã‚  3.27  Ã‚  Ã‚  Ã‚  Ã‚  .39  Ã‚  Ã‚  Ã‚  Ã‚  .17  Ã‚  Ã‚  Ã‚  Ã‚  -0.83  Ã‚  Ã‚  Ã‚  Ã‚  .42 Influence  Ã‚  Ã‚  Ã‚  Ã‚  3.88  Ã‚  Ã‚  Ã‚  Ã‚  .37  Ã‚  Ã‚  Ã‚  Ã‚  3.98  Ã‚  Ã‚  Ã‚  Ã‚  .32  Ã‚  Ã‚  Ã‚  Ã‚  .29  Ã‚  Ã‚  Ã‚  Ã‚  -1.02  Ã‚  Ã‚  Ã‚  Ã‚  .32 Communication  Ã‚  Ã‚  Ã‚  Ã‚  3.19  Ã‚  Ã‚  Ã‚  Ã‚  .35  Ã‚  Ã‚  Ã‚  Ã‚  3.35  Ã‚  Ã‚  Ã‚  Ã‚  .33  Ã‚  Ã‚  Ã‚  Ã‚  .47  Ã‚  Ã‚  Ã‚  Ã‚  -2.24  Ã‚  Ã‚  Ã‚  Ã‚  .04* Change Catalyst  Ã‚  Ã‚  Ã‚  Ã‚  3.85  Ã‚  Ã‚  Ã‚  Ã‚  .45  Ã‚  Ã‚  Ã‚  Ã‚  4.00  Ã‚  Ã‚  Ã‚  Ã‚  .53  Ã‚  Ã‚  Ã‚  Ã‚  .31  Ã‚  Ã‚  Ã‚  Ã‚  -1.73  Ã‚  Ã‚  Ã‚  Ã‚  .10 Conflict Management  Ã‚  Ã‚  Ã‚  Ã‚  3.06  Ã‚  Ã‚  Ã‚  Ã‚  .35  Ã‚  Ã‚  Ã‚  Ã‚  3.23  Ã‚  Ã‚  Ã‚  Ã‚  .35  Ã‚  Ã‚  Ã‚  Ã‚  .49  Ã‚  Ã‚  Ã‚  Ã‚  -1.91  Ã‚  Ã‚  Ã‚  Ã‚  .07* Building Bonds  Ã‚  Ã‚  Ã‚  Ã‚  3.46  Ã‚  Ã‚  Ã‚  Ã‚  .36  Ã‚  Ã‚  Ã‚  Ã‚  3.50  Ã‚  Ã‚  Ã‚  Ã‚  .36  Ã‚  Ã‚  Ã‚  Ã‚  .11  Ã‚  Ã‚  Ã‚  Ã‚  -0.73  Ã‚  Ã‚  Ã‚  Ã‚  .47 Teamwork & Collaboration  Ã‚  Ã‚  Ã‚  Ã‚  4.06  Ã‚  Ã‚  Ã‚  Ã‚  .54  Ã‚  Ã‚  Ã‚  Ã‚  4.10  Ã‚  Ã‚  Ã‚  Ã‚  .51  Ã‚  Ã‚  Ã‚  Ã‚  .08  Ã‚  Ã‚  Ã‚  Ã‚  -0.37  Ã‚  Ã‚  Ã‚  Ã‚  .72 (Source: Sala 2004) Table 1 Differences between EI Levels of the Total Participants Prior (T1) and After (T2) participating in the EI workshops * Note: Differences were considered meaningful, or significant, if effect sizes were moderate or large and if paired-samples t-tests statistically significant (p

Rokeby Venus Essay -- Essays Papers

Rokeby Venus I choose to look at the painting â€Å"The Toilet of Venus† or more commonly referred to as â€Å"The Rokeby Venus† by Diego Velalazquez. The â€Å"Rokeby† part came into effect, because the painting was originally displayed in the Morritt Collection at Rokeby Hall in Yorkshire, before being moved to its current home in the National Gallery. Diego Velazquez was born in Seville in 1599, and went on to become one of the most brilliant and influential painters ever to come from Spain. He lived in Madrid for most of his adult life, and was employed as a court painter. Throughout his career, he tackled a wide variety of subjects, such as landscapes, scenes from real life, and mythological/religious figures. He was a master realist who excelled at capturing essential features upon the canvas. He painted â€Å"The Rokeby Venus† between 1647 and 1651, and was his only nude portrait, as well as the first one in Spain, at that time. Initially the painting me t with some disapproval, especially from the Church, since it was a nude, but eventually the work received great praise, and became known, as being one of the most beautiful and significant portrayals of Venus in the history of Western Art. The painting, in its simplest form, consists of a naked woman lying elegantly upon stately and rich cloths, while a young, also nude boy, is holding a mirror which contains her reflection. Upon first glance of this work, I was quickly able to make out the identity of the two subjects. ...

Instagram Term Paper

AMA COMPUTER LEARNING CENTER COLLEGE Tagbilaran City, Bohol INSTAGRAM (Android Application) A term paper submitted in partial fulfillment of the Requirements for the degree of BACHELOR OF SCIENCE in INFORMATION TECHNOLOGY by: Josie Marie Mosqueda Edralyn Tutor 2012 ABSTRACT Today the folks responsible for one of the most popular social photography apps in the world  have brought that entertainment to  Android– and here we’re going to review it! What you’ll find is that this app is extremely similar to the iOS version, it having the ability to snap photos, edit them in brief, and send them out to several social networks.This Android version is said to be superior to the iOS version in several ways by its developers. This app got extremely popular on iOS because it allowed (and still allows) you to do three different activities in one app – photography, sharing, and editing of photos. Here on Android you’ve got several of those abilities built in – the HTC One series in-particular has some pretty amazing photo editing, taking, and sharing abilities. INTRODUCTION An important application for the tech-savvy crowd, Instagrams are all about the beauty of capturing moments through man-made lenses and sharing it with your near and dear!As Will Smith says â€Å" Life is not about number of breadths you take, it is about number of moments take your breath away†. Moments like that don’t happen everyday, but can be captured and cherished for the rest of your lives, thanks to the app called Instagram! Instagrams are solely for the Apple person, that is compatible with Iphones, Ipads, Ipod Touch with an iOS version of 3. 1. 2 or above. Instagram, the popular photo sharing application which gained prominence on iOS – is now available for Android. Complete with a beautiful user interface and a full feature-set, it seems to have been worth the nail biting.It is a free photo sharing application which helps you to click pictures, apply fresh effects on them using their inbuilt filters and then post it online on any social networking site like Foursquare, Facebook, Twitter, Flickr etc. A list of the most popular filters are the Walden Filter, the X Pro II, the Lomo-Fi, the Brannan, the Hefe, the Earlybird, the Sutro, the Poprocket, the Nashville and the Gotham. HISTORY Below is a short Infographic on Instagram’s history. TIMELINE DISCUSSION Felling the walled gardenInstagram and  Hipstamatic, a digital photography application for iOS devices, entered into a partnership that would allow photos from the app to be directly ported into Instagram. â€Å"I’m a huge fan of what Hipstamatic is doing and all they’ve accomplished,† Systrom  said. â€Å"They were iPhone App of the Year in 2010 and we got 2011. We have a huge amount of respect for that whole team both as fellow photographers and entrepreneurs. † â€Å"Really it comes down to this: People post Hipst amatic photos on Instagram all the time, and we just want to make that experience easier. †Pictures paint more than a thousand words Instagram already has seven million users all over the world and the number is only going to get bigger when the Android app launches. There are loads of awesome photos available on Instagram today and these photos are inspiring others to follow suit. Taking Photos with Instagram Instagram has a built-in camera function, making it easy to quickly snap a photo to share in the app. You can also pull photos directly from your iPhone photo library, so you can share older photos taken with your iPhone or photos synced from your iPhoto library on your computer.All Instagram photos are square, so after you take or select a shot you are presented with an easy interface to scale and crop it. Transforming Photos with Instagram After your photo is cropped, you can transform the look of it with a variety of filters. Most of the filters are designed to give y our photo a vintage look, bringing back polaroids and old black-and-white pictures. While quick Photoshop style filters are often considered cheap tricks, people have embraced Instagram because it simply makes photo sharing fun. Photo Sharing with InstagramWhen you are done editing an Instagram, you can choose to share it just within the app or on Twitter, Facebook, Flickr, Posterous, Tumblr and Foursquare. Instagram also creates a web page with your image that you can link to, but that's as far as the website goes. It is not the place to follow people, view galleries or submit photos. All of that functionality is reserved for the app itself, where you can view photos from your friends, see popular photos, and find people to follow and more. FEATURES OF INSTAGRAM * 100% free custom designed filters and borders The Lux: A new feature given by the makers to bring out the inner nuances in your picture with nothing but a tap on the picture! Best part in using Lux is that it can be used even without a filter. * Instant sharing to Facebook, Twitter, Tumblr, and Foursquare (Flickr coming very soon) * A new filter called the Sierra. * Interact with friends through giving ; receiving likes and comments * Works with Android versions 2. 2 and above that support OpenGL ES 2 * Full front ; back camera support SCREENSHOTS ADVANTAGES OF INSTAGRAM Instagram is great especially if you are fond of taking pictures and uploading them right away for other people to see. * It is fast like when you took a picture, uploaded it and it will automatically be uploaded or posted on your facebook account, twitter and tumblr. * It offers a lot of effects, or if you want your photo to have a frame or not. * You can be updated on your friends’ happenings or your friends’ important announcements. * A great way of making or meeting new friends. * You can also advertise your own products if you have some business or shops.You can take a photo of your products and post it on instagr am and it can help you gain more customers. * Another great thing is that, there are some photo applications that you can directly upload on instagram the photos you have taken or edited. One of this is the photoshake, it's up to you if you want to upload the photo you took directly on instagram or just save it on your mobile phone or tablet. DISADVANTAGE OF INSTAGRAM * Privacy – where in, every detail and every photo that you will be uploading, a lot of people might see it.Rumors can also start by others seeing some photos of you not being good. Your life can be at danger especially if you always takes a photo of you on where you at and what are you doing. CONCLUSION Above all, Instagram is made for us to enjoy the convenient of taking some pictures with our loved ones. And take note, important pictures with our friends, family, classmates or any special ones. Instagram is not made to make rumors of other people, to make fun at them and to invade others privacy. The team has certainly come a long way, to create a better world for its users.

Answers to Quiz #4

According to the IS-LM model, what happens in the short run to the interest rate, income, consumption, and investment under the following circumstances? (Assume everything else is held constant. ) a. The central bank decreases the money supply. i. The interest rate ________increases_______________________ ii. Income ____________decreases__________________________ iii. Consumption ___________decreases______________________ iv. Investment ___________decreases________________________ b. The government decreases its level of expenditures. i. The interest rate _________decreases______________________ ii.Income ___________decreases___________________________ iii. Consumption __________decreases_______________________ iv. Investment ___________increases________________________ c. The government imposes a new lower level of taxes. i.The interest rate _________increases______________________ ii. Income ________________increases______________________ iii. Consumption ___________increases______ ________________ iv. Investment ______________decreases_____________________ d. The government increases government spending while at the same time it increases taxes by exactly the same amount. .The interest rate __________increases_____________________ ii. Income _____________increases but by less than the change in government spending and the change in taxes_________________________ iii. Consumption __________decreases_______________________ iv. Investment ______________decreases_____________________ 2. Use the following information to answer this set of questions. An economy can be described by the following equations: C = 200 + 0. 75(Y – T) I = 200 – 25r G = 100 and is constant and exogenously determined T = 100 and is constant and exogenously determinedThe demand for real money balances = M/P = Y – 100r M = money supply = 1000 P = price level = 2 a. Write an equation for the IS curve for this economy. IS: Y = 200 + 0. 75(Y – T) + G + I Y = 200 + 0. 75Y -0. 75(100) + 100 + 200 – 25r Y = 500 + 0. 75Y -75 – 25r .25Y = 425 – 25r Y = 1700 – 100r b. Write an equation for the LM curve for this economy. Supply of real money balances = demand for real money balances 1000/2 = Y – 100r Y = 500 + 100r c. What is the equilibrium interest rate and the equilibrium level of output for this economy given the above information? 00 + 100r = 1700 – 100r 200r = 1200 r = 6 Y = 500 + 100 (6) Y = 1100 d. What is the equilibrium level of consumption and the equilibrium level of investment for this economy? C = 200 + 0. 75(Y – T) C = 200 + 0. 75(1100 – 100) C = 200 + 0. 75(1000) C = 200 + 750 C = 950 I = 200 – 25r I = 200 – 25(6) I = 200 – 150 I = 50 e. Suppose that the money supply is increased to 1200. What is the new equilibrium level of interest rate and the new equilibrium level of output for this economy given this change? What is the new equilibrium level of consumption ? The new LM curve is Y = 600 + 100r and the IS curve is Y = 1700 – 100r.Thus, 600 + 100r = 1700 – 100r 200r = 1100 r = 5. 5 Y = 600 + 100(5. 5) Y = 1150 C = 200 + 0. 75(Y – T) C = 200 + 0. 75(1150 – 100) C = 200 + 987. 50 f. Suppose that the initial information is true (no change in the money supply). If government purchases increase to 150, what is the change in output predicted by the Keynesian Cross diagram? What is the actual change in output based upon the IS-LM model? The change in output predicted by the Keynesian Cross diagram is equal to (1/(1 – MPC))(change in government spending) or (1/0. 25)(50) = 200.The actual change in output based upon the IS-LM model will be less than this. To see this you need to first write the new IS curve: Y = C + I + G’ Y = 200 +0. 75(Y – T) + I + G’ Y = 200 + 0. 75Y – 0. 75(100) + 200 – 25r + 150 0. 25Y = 475 – 25r Y = 1900 – 100r Then, combine this IS curve w ith the LM curve to have 1900 – 100r = 500 + 100r 1400 = 200r r = 7 Thus, Y = 1900 – 100r Y = 1900 – 100(7) Y = 1200 The change in output is from the initial level of 1100 to the new level of 1200, or a change of 100 which is less than that predicted by the Keynesian Cross diagram.