Validity and Reliability Matrix Essay Example | Topics and Well Written Essays - 1250 words

Validity and Reliability Matrix - Essay Example Validity and Reliability Matrix This form of reliability is used to judge the consistency of results across items on the same test. Essentially, test items that measure the same construct are measured to determine the tests internal consistency. The multiple indicators of a property increase the measure's reliability. Rival hypotheses are ruled out because of the use of range of multiple indicators of the property being studied and measured. This test often helps researchers interpret data and predict the value of scores and the limits of the relationship among variables. A property is measured in several different ways, in which the most typical form for measurement is through questionnaire, and then measures obtained were combined into a single score, hence reliability across different parts of an instrument might be difficult to establish. The measures are specifics of a property which will eventually be collated to reflect a single information. Half of the test items (even numbered) are correlated to other half (odd numbered) to obtain reliability coefficient. This is done by randomly dividing all items that purport to measure the same construct into two sets. The entire instrument is administered to a sample of people and the total score for each randomly divided half is calculated. The split-half reliability estimate is simply the correlation between these two total scores. It only requires a single test administration. It is therefore resources-wise test. Cost and time will be used efficiently. It is limited to estimating differences on one dimension (usually the number of items, or raters). The resultant coefficient will vary as a function of how the test was split. It is also not appropriate on tests in which speed is a factor (that is, where students' scores are influenced by how many items they reached in the allotted time). Test/retest It is an index of score consistency over a brief time period, typically several weeks. It tells how much the individual's normative score is likely to change on near-term retesting. This index of score is obtained by administering the same test twice, with a certain amount of time between administrations, and then correlating the two score sets. Each subject should score different than the other subjects, but if the test is reliable then each subject should score the same in both test. The closer the results, the greater the test-retest reliability of the survey instrument. The test is easy to administer hence, it is the most popular indicator of survey reliability. The consistency of a measure from one time to another is measured and assessed. It assumes that there will be no change in the quality or construct being measured. "It is an excellent measure of score consistency because it allows the direct measurement of consistency from administration to administration" (Lawrence, R. et al, 2001) Administration of test for the second time may produce the "practice effect" - respondents "learn" to answer the same questions in the first test and this affects their responses in the next test. Score change could be caused by day-to-day fluctuation in performance, or the individual's

University Culture Essay Example for Free

University Culture Essay There are universities all over the world with their own unique cultures which include their own customs among other things. Rice University is a great example of a college with its very own unique culture compared to other universities. E. B. Tyler defined culture as â€Å"†¦that complex whole which includes knowledge, belief, arts, morals, law, custom, and any other capabilities and habits acquired by man as a member of society† (Howe â€Å"Culture† lecture 2011). This is only one of many definitions of culture that have been thrown around by numerous individuals throughout the course of history. This definition in particular fits Rice University extremely well. No one of the before mentioned qualities such as knowledge, morals, or customs make Rice University what it culturally is, but it is when all of these aspects are brought together that Rice really becomes what the university is today. When one matriculates at Rice University they all of a sudden become a part of something much larger than they were before. They become part of a grand family. One of the first things that Rice University drilled into my head when I first arrived was the idea of the honor code, which is really a set of laws that govern the student body. In this system the student is granted a great deal of trust from their professors and the university in as a whole. Things such as take home exams are commonplace thanks to the commitment from the students to respect the honor code. Since such a high focus is placed on the honor code it is in fact a major piece of the culture here at Rice. I feel like this practice works at Rice so well because the students at Rice tend to have shown a great deal of commitment to get into such a great school that they are able to be trusted to be more responsible than the average college student. In different cultures across the planet there are an abundant amount of rituals practiced. Things such as holidays and religion are specific to certain cultures. Rice University has a few rituals of its own. The one that comes to mind most often for people is the running of Baker 13. This is a taboo ritual in the sense that it is prohibited to just anyone (Howe â€Å"Rituals† lecture 2011). This practice would actually be illegal outside of Rice actually. A brief overview of what Baker 13 entails is a bunch of naked college students running around campus at night covered in shaving cream. They attempt to attack any other students unlucky enough to get in their path with a naked, shaving cream covered hug. This practice is unique to Rice University and thus is a way to help establish Rice’s own culture. When it comes to Rice’s ethnic culture things are quite different from the average run of the mill culture. While cultures usually have a specific ethnic group that is prevalent, Rice University prides itself by having so many students with such a wide range of ethnic backgrounds. Rice actually draws from a plethora of ethnic groups, in which â€Å"members share certain beliefs, values, customs, and norms because of their common background† (Howe â€Å"Ethnicity† lecture 2011). This ability to draw from so many different cultures and their ethnic groups is a major part of Rice University’s own culture. Much the same as American culture is borrowed culture from other areas in the world, Rice can be seen as being multicultural. Rice is definitely not only composed of many other cultures coming together. Rice’s culture has many other aspects unique to itself such as the before mentioned rituals and life here in general. Rice University even has its own language exclusive to Rice. This can be seen in the different cheers of each of the eleven different residential colleges here on campus. These cheers tend to be somewhat more vulgar than the average language seen outside of Rice University with some even referring to sexual acts with another’s parents. Language here at Rice is not restricted to merely vocalizations. We, much like gangs in the streets, have a few hand gestures and symbols that are commonly used here. One such gesture is when one makes an owl with his or her hands. This is commonly seen at sporting events when students are cheering on for the Rice University owls. This is one way in which all of the students come together in show support for their fellow students. In some ways people might think of Rice University as not really having a unifying culture. This can be attributed to the eleven different residential colleges here on campus. Each college does in fact have its own culture, so Rice University is actually made up of eleven sub-cultures. These sub-cultures actively compete amongst one another in events such as powder-puff, basketball, and other sporting venues. This competition can come across as counterproductive in keeping a university wide culture intact. Many might wonder how a culture that has almost a dozen sub-cultures that compete against each other so often and even have anti-cheers for one another could still be called a culture. Culture is in fact seen as something that unifies groups and individuals so it is understandable when people do not see Rice University as really having a university wide culture. To me this idea of Rice University not having a culture is totally ungrounded. The many sub-cultures of Rice actually add to the overall campus wide community in my opinion. Rice University has the culture it does because of the ability to have so many different sub-cultures coexist with one another and form such a unified student body. This unification is not always noticeable on the surface, but rest assured Rice people love other Rice people. Like I mentioned above, the whole university comes together at college-level sporting events to cheer on the team against other universities. Another example of members of the different residential colleges coming together is during classes. Since attending class plays such a major role when one is at a university they can be great opportunities for cooperation among the eleven residential colleges. Students from all the residential colleges work together in class on group projects and discussing the topics of the class. Like all universities, Rice has numerous clubs and organizations that one can become a part of. The clubs and organizations welcome anyone to join in and become a member. Even cultural clubs that represent specific foreign cultures welcome individuals from any other cultural background to join in their activities. A few weeks ago I attended a production put on by Rice’s own Southeast Asian dance organization. There were an abundant amount of individuals participating in the production that were obviously not of Southeast Asian heritage. To me this proves just how many different cultures can coexist within Rice University’s very own culture. In other words I believe that Rice University has a special and unique culture thanks to the university’s ability to bring so many diverse cultures together. Not many other places or organizations could have such a strong presence in my opinion. In my short time at Rice so far I have already been affected by the culture of this place. I remember when applying to colleges I would think of how it would be when I actually started attending a university. I would think of all the college cliches from movies and friends’ experiences that had already began their collegiate career. I began to form my thoughts of how I thought college would be when I finally got there. After I got to Rice I soon realized that how I thought the culture would be was completely off. Rice is a place where one has to really be a part of and experience its culture for that culture to be really understood and appreciated. Works Cited Howe, Cymene 2011 â€Å"Culture† lecture. Rice University, Introduction to Social/Cultural Anthropology, Fall. Howe, Cymene 2011 â€Å"Rituals† lecture. Rice University, Introduction to Social/Cultural Anthropology, Fall. Howe, Cymene 2011 â€Å"Ethnicity† lecture. Rice University, Introduction to Social/Cultural Anthropology, Fall.

The Case Of Gondar City Administration Tourism Essay

The Case Of Gondar City Administration Tourism Essay With its historic heritage, cultural diversity, and urban vitality, Istanbul has significant potential upon which creativity and cultural industries could flourish. This paper examines the current structure of three cultural industries in Istanbul from a spatial perspective. These sectors are arts and culture festivals, the film industry, and the fashion design industry. This study attempts to define and measure cultural industries in Gondar city. It starts with a discussion of the definition and delineation of the term cultural industries, arguing that a large range of goods services can be considered culture industry products that it is important to place the production and exchange of such products in the context of an industrial systems approach. The concept is then operationalized using the city data on employment and the activity of firms. The aim of this paper is to assess and analyze the provision of cultural industries and its contribution to the Gondar city administration economy in terms of employment. The main focus of the study is cultural industries especially performing art activities in the town. To this result, the practice of cultural industries, stakeholders participation, the existing rules and regulation will be examined. While a variety of definitions of the term cultural industries have been suggested, this paper will use the definition suggested by UNESCO (see www.unesco.org) is based on the notion that cultural industries add value to contents and generate values for individuals and societies. They are knowledge and labor intensive, create employment and wealth, nurture creativity-the raw material they are made from-,and foster innovation in production and commercialization processes. At the same time, cultural industries are central in promoting and maintaining cultural diversity and in ensuring democratic access to culture. This twofold nature-both cultural and economic-builds up a distinctive profile for cultural industries. The main questions/issues addressed in this paper are: What is the existing condition of cultural industries in Gondar town ? What are the contribution of cultural industries on the economy in terms of employment? What are the needs and threats of cultural practitioners? What are the challenges of the municipality in the provision and management of cultural industries? What solutions are needed? What options exist for cultural industries provision and management? To attain this, descriptive survey research method will be working based upon primary and secondary data gathering and interviews with stakeholders and responsible government officials. Finally, the study is believed to be a new input, since there has been no research on this area especially for this city. Acronyms UNESCO US UK TV Statement of the problem There is debate about how to define corruption; thus, it is important to define it thoroughly from the outset to determine what use the definitions play in our understanding of the phenomenon. In the new global economy, X has become a central issue for In recent years, there has been an increasing interest in This paper will focus on/examine/give an account of This paper seeks to address the following questions: This essay critically examines/discusses/traces The purpose of this paper is to review recent research into the This paper will review the research conducted on In this paper I argue that.. This chapter reviews the literature concerning the usefulness of using The aim of this paper is to determine/examine The aim of this study was to evaluate and validate Defining or establishing what keywords mean in your work: While a variety of definitions of the term X have been suggested, this paper w definition first suggested by Smith (1968) who saw it as. Throughout this paper the term X will refer to/will be used to refer to. In this article the acronym/abbreviation XYZ will be used. .; to identify the current challenges and opportunities of cultural industries, and to assess the existing rules, laws and regulation of cultural industries; and also to recommend necessary policy intervention measures that could be helpful for this areas. CHAPTER ONE Introduction Background of the Study In recent years, there has been an increasing interest in the place of culture in the economy. In recent years government and regional authorities in the Ethiopia countries have begun to take seriously the idea of cultural activities being crucial components of their economies in need of industrial support and development. The role of culture in the functioning and development of Ethiopian economies has become an increasingly popular topic for both researchers and policymakers alike. In particular, there has been a growing awareness in recent years that cultural industries such as film, music and the media are increasingly important and vibrant parts of many countries economiesà ¢Ã¢â€š ¬Ã‚ ¦../unpublished/ This paper argues that cultural industries sector is an area of the global economy where SIDS enjoy some comparative advantage in production and where there is a window of opportunity given the rise of the digital economy and the increasing commercialization of the arts. The view is that cultural industries may offer more sustainable development options since they draw on the creativity and enterprise of local artists and communities. It is also argued that the cultural industries play a dual role in that it is an economic sector with growth potential and an arena for identity formation. The paper identifies ways in which SIDS can benefit from the increased commercialization of the arts and cultural industries. The paper will also outline the main challenges and opportunities for SIDS in the global cultural economy as well as give broad recommendations by drawing on the experience of the Caribbean. The term cultural industries encompasses a wide variety of co modified activities, including the mass media, film, art, design, music and architecture. There effects are important to national economies in terms of their impacts on trade, employment levels (Casey, Dunlop, and Selwood 1996: European commission 1999: Europian union 2000: Greffe 1997: Pratt 1997b) industrial ownership and investment patterns of consumption. This study starts by discussing some of the definitional problems that characterize research on cultural industries. Using a broad definition of cultural industries understood as an industrial or production system (pratt 1997b), I then analyze stastical data on the levels of employment and the activity of firms in Gondar cultural industries b/n 1994 and 1995. This study investigates cultural industries as both a concept and reality in the context of Gondar. I show that although cultural industries are not the most important economic activities in the Gondar economy, they represent a significant and fast growing area with some distinctive characteristics. Globalization bring modernization. Modernization has positive and negative impact. One of its negative impact have a tendency to destroy local creativity and dominated local peoples to foreign culture and attitude. Local cultural goods if properly packaged and marketed could play an important role in economic system. Many aspects of culture, particularly in the area of dance, music and arts have influenced active industries around the world. But the ability to package cultural activities into marketable goods that can penetrate global markets is a big challenges for countries. Even local markets have not been fully exploited. A major challenges has been the ability to mobilize the creativity of people and exploit them for growth and development. Ethiopia recognizes the role of culture and tourism in development and has national policies on culture and tourism which aims at promoting cultural activities. What the reforms have failed to do is to effectively link culture with business so as to build a sustainable industry. The objective of this paper is focusing on the trends and issues of cultural industries in Gondr city administration. After introducing some concepts about the study area, the paper reviewed different literatures concerning the issue understudy. The research methodology that the paper adopted is also included. In addition to this data presentation and analysis is part of this paper. Finally the researcher winds the paper up by concluding the whole parts of it and giving possible recommendation for the gaps which are researched. 1.2 Statements of problem Ethiopia has her own culture and identity. This culture and identity face a big challenge due to globalization. Local creativity has definitely been minimized by the nature of technological changes and the structural shift in economies, particularly in most productive activities. To be competitive in a globalizing world Ethiopia must promote her cultural economy. This is also true to Gondar city administration. This is still very weak despite the enormous resources available in the country as well as the city. There is a need to assess the value of the arts and culture in the economy. We have to know what the sector looks like and what products and services are involved. Who are the stakeholders in the sector and also what are the elements of the cultural economy in the city are one focus of this studies. Besides what are the challenges to the cultural economy and what is the marketing structure of the sector also other concern areas. 1.3 Objectives of the Study 1.3.1 General Objective The general objective of the study is to assess and analyze the provision of cultural industries and its role for employment opportunities in Gondar city administration . 1.3.2 Specific Objectives Describe cultural industries role for employment opportunities in Gondar city administration . Identify the existing conditions of cultural industries in the Gondar city administration . Describe the current challenges and opportunities of cultural industries in the Gondar city administration . Assess the rules, laws and regulation of cultural industries in the Gondar city administration . Recommend necessary policy intervention measures that could be helpful for Gondar city administration and other similar areas. 1.4 Research Questions What is the existing condition of cultural industries in Gondar town ? What are the impacts of cultural industries on the economy? What are the needs and threats of cultural practitioners? What are the challenges of the municipality in the provision and management of cultural industries? What solutions are needed? What options exist for cultural industries provision and management? 1.5. Significance of the Study The study will enables the researcher to have introduce overview of the existing situations of cultural industries for comprehensive understanding. The study will have a contribution to the community, private investor, local authorities and planners to give proper attention for the multifunction and benefits of cultural industries. It can also some policy indications that are helpful for municipal government and planner to consider as part of their overall town planning ingredients. It will also fill the knowledge gap that exist because there is no study on cultural industries in Gondar. Furthermore, this study serves as a reference for other researchers who are interested in conducting studies on this issue. 1.6. Scope of the Study The study is delimited spatially in the Gondar city administration which is found in the Amhara regional state. The key concerns of the study is examining the status of cultural industries and explaining factors that challenge for the provision of the issue. Besides the impact of cultural industries on the economy of the town is discussed in this paper. Furthermore, based on the indications and results of the study feasible strategies will be recommended to resolve the problem. 1.7 Description of the study area Gondar city administration is a city in Amhara national regional state of Ethiopia. And located on the Southern shore of Lake Tana and the source of the Blue Nile (Abay) river. The city is sited 567km north-west of Addis Ababa along Addis Ababa- Dejen- Debremarkos-Bure road and 465km Addis Ababa-Dejen-Motta road. Gondar city administration currently structured as a metropolitan city including 9 city kebles, 4 adjacent rural kebeles and 3 satellite towns(Meshenti, Zeghie and Tis Abay). The city has a latitude and longitude of 110 38 N and 370 15 E and an elevation of 1840m above sea-level (BDIDP, 2006). Its location at this spot favors the city with many and multifaceted opportunities like water resource (Lake and River), suitable topography, favorable climate to live. Based on figures issued by the central statistical agency in 2007, the city has an estimated total population of 230,344 of whom 107,578 males and 112,766 females (CSA, 2007). CHAPTER TWO 2. Literature Review culture is different from society to society. Even though, cultural activities vary from society to society, they have the same economic impact. So that, in this part the paper tries to utilize different literatures, which are very relevant for the study like the existing situations, socio-economic benefits, challenges and opportunities and policies and strategies related to art, culture and cultural industries extensively by reviewing from the works of different authors. 2.1 Theoretical and conceptual Frame work 2.1.1 The concept of cultural industries The term cultural or creative industries describes the economic activities of artists, arts enterprises and cultural entrepreneurs, for-profit as well as not-for-profit, in the production, distribution and consumption of film, television, literature, music, theatre, dance, visual arts, masquerade, broadcasting, multimedia, animation, fashion and so on. The sector is not just a commercial arena, it is a symbolic and social space where spiritual values, psychic meaning and bodily pleasures are displayed, enacted and represented. From this perspective the cultural/creative industries play a dual role: they are an important area for investment in the new knowledge economy and a means of bolstering spiritual values and cultural identity. This is why UNESCO recommends that countries should maximize potential economic contribution as well as facilitate national, regional and world dissemination of endogenous cultural creativity. /www.caricomorg/index.php?options=com-docmantask/ For the purpose of this study we use the term cultural industries to describe the activities of cultural entrepreneurs and arts enterprises, for-profit as well as not-for-profit in the production, distribution and consumption of film, television, books, music, theatre, dance, visual arts, multimedia, animation, fashion and so on. The concept of cultural industries comprises all enterprises and self-employed persons whose economic activities focus on the production, dissemination and intermediation of artistic and cultural products or services. In other words: all subsectors and market segments that are related to culture in a wide sense, e.g. music industry, publishing industry, arts, film industry etc. This embraces individual artistic ideas or original works of art, products of the applied arts, the trade of art works and products of popular culture, even the dissemination of cultural goods and services through the mass media. /www.unesco.de/fileadmin//culture_and_creative_industries.pdf/ In terms of industry definition, the cultural goods and services involve creativity in their production, embody some degree of intellectual property and convey symbolic meaning. (David Throsby,2001) Cultural products are goods and services that include the arts (performing arts, visual arts, architecture), heritage conservation (museums, galleries, libraries), the cultural industries (written media, broadcasting, film, recording), and festivals. UNESCO has declared that these products are not like other forms of merchandise.( publications.gc.ca/collections) The production, distribution, exhibition and preservation of cultural products can be a source of inspiration and creativity for cultural industries, generating considerable income and employment fuelled by the growing demand for cultural goods and services in an expanding marketplace. Many businesses today, small, medium and large, create wealth using the forms and materials of traditional cultures. Local cooperatives have been formed in some countries to produce and market handmade crafts, textiles that employ traditional designs, audio recordings of traditional music, pharmaceuticals that use indigenous knowledge of healing plants. Trade in cultural products can contribute to the quality of life in the places they are produced, and can enhance the image and prestige of the local area. Some cultural products can also play an important role in community food security, nutrition and health. Their benefits are relatively more important for poorer households, women and disadvantaged groups. Sadly, the commercialization of cultural products has often not benefited the countries of origin, particularly in the fields of music, film, video production, visual arts, crafts and performing arts and dance. And despite their economic potential, most cultural products are hardly researched and rarely feature in national economic statistics. / www.thecommonwealth.org/ 2.1.2 Creative Industries and Development Globally, creative industries are estimated to account for more than 7 per cent of the worlds gross domestic product and are forecast to grow, on average, by 10 per cent a year. While the economic and employment-generating potential of these industries is vast and many developing and transition countries have great potential in this area, most are still marginal players, despite their rich cultural heritage and an inexhaustible pool of talent. That position reflects a combination of domestic policy weaknesses and global systemic biases. Ongoing research has emphasized the potential of these industries in developing countries. Creativity, more than labour and capital, or even traditional technologies, is deeply embedded in every countrys cultural context. Excellence in artistic expression, abundance of talent, and openness to new influences and experimentation are not the privilege of rich countries. With effective nurturing, these sources of creativity can open up new opportunities f or developing countries to increase their shares of world trade and to leap-frog into new areas of wealth creation. (unctad.org/en/docs/tdxibpd13_en.pdf) 2.1.3 cultural industries in urban regeneration and regional growth Throsby noted that the importance of the arts in the economic life of the city and as a means for urban regeneration was first recognized several decades ago. More recently, interest has widened to embrace broader issue of the urban cultural fabric, community values and the prospects for re-thinking urban design along environmentally and culturally sensitive lines. Culture is importantly implicated in the process of urban development. At least four non-mutually-exclusive roles for culture in the life of cities can be observed. First, a specific cultural facility may comprise on its own a significant cultural symbol or attraction affecting the urban economy. Second, a cultural district may act as a node for development in the local area. Third, the cultural industries, especially the performing arts, may constitute a vital component of a citys economy. Fourth, culture may have a more pervasive role in urban development through the fostering of community identity, creativity, cohesion and vitality, via the cultural characteristics and practices which define the city and its inhabitants. (Throsby 2001, p.124) With in this context the concept of cultural capital is a useful way of depicting the place of culture in the urban setting. Heritage buildings, cultural institutions, facilities such as theatres, concert halls, crafts workshops, artists studios and so on can all be seen as capital assets, and the People who produce cultural goods and services in these facilities-actors, musicians, craftspeople, writers, technicians, designers, administrators and many others- all contribute to the generation of economic and cultural value over time. (Throsby 2001, p.126) 2.1.4 cultural industries/economy in Ethiopia Ethiopia is an ancient country with a rich cultural heritage which includes both tangible and non tangible assets, centuries old handicraft production, an exceptional variety of ceremonies, festivals, celebrations and rituals, as well as eight cultural and natural heritage sites registered on the on UNESCOs World Heritage list. Given its rich cultural heritage and having emerged as the most stable country in the Horn of Africa, Ethiopias potential for economic growth through tourism is highly underutilized. The abundant supply of labor is a potential resource for development with little requirement for investment, in particular in regards to handicrafts and other arts that require intensive manual labor. The government has expressed its desire to improve management of the major cultural sites and the promotion of Tourism as a source of income and sustainable development. Centuries old local industries are at risk by the lack of cultural status assigned to bearers of cultural traditions within society, as well as traditionally low prices, which translate into low incentives to learn the trade, putting at risk the national cultural heritage. Population pressures together with environmental degradation, poverty and global warming endanger Ethiopias natural and cultural heritage. Indigenous knowledge and practi ces need to be safeguarded from globalization. History of cultural homogenization, together with a pressure for modernization, have undermined the value of cultural diversity. /www.mdgfund.org/ In spite of existing legal instruments, such as the recently enacted intellectual property laws can create and enabling environment, Ethiopia does not have a policy framework to guide the development of the cultural industry, and its instruments do not yet incorporate indigenous knowledge and natural heritage management traditions. The lack of comprehensive laws and policies, as well as poor enforcement and implementation of existing policies and regulatory frameworks, in part due to lack of capacity and public awareness, has resulted in a poor institutional framework. Although most products are original and functional, there is no standardization, which would allow them to compete in the international market. Additionally, there are no market linkages between producers and traders, with agents retaining a good share of the profit. Further to income loss this translates into low specialization and the inability to respond to market demand. Poor coordination leads to lack of integrati on and synergies, while efforts of stakeholders become fragmented and possibly duplicated. /www.mdgfund.org/ 2.1.5 challenges and opportunities of cultural industries The challenges facing the creative industries are different from those posed to the traditional goods sector. Firstly, intellectual property protection and commercialization is a top priority. The creative industries cannot survive in the marketplace without adequate protection from copyright infringement. Without such protection cultural entrepreneurs would be at the mercy of piracy, bootlegging, counterfeiting and other forms of infringement such as unlicensed broadcasting. Secondly, research and development must be placed higher on the agenda. In the cultural industries research and development means investment in human and creative capital. This is a critical area as the cultural industries start with creativity and it accounts for a large share of investment in the sector. Lastly, marketing and branding are crucial because audience loyalty is difficult to build and predict. With the rise of the digital and Internet economy there is a tendency to underestimate the level of the challenge of introducing new and alternative genres into the world market for creative goods and services. Ultimately, the issue that arises for developing country regions is whether they will be able to develop the expertise along with the distribution infrastructure and marketing savvy to tap into the growth potential of the rising creative sector. One of the main challenges in penetrating the international market is that of introducing new and alternative art forms and genres in global, regional and national markets that are increasingly saturated with content from the main cultural exporters (e.g. the US, UK and India). Participating in these markets is not just a matter of building competitiveness it also calls for changing consumer tastes and lifestyles, which is requires heavy, capital-intensive marketing and alliances with global firms. The countries of the region are also faced with a number of challenges that are associated with small and peripheral economies such as weak management and inadequate information systems, shortage of skilled personnel, low levels of training, poor manufacturing and service facilities, uncompetitive packaging and branding, weak marketing and distribution channels, high levels of copyright infringement and piracy and weak rights management and royalties collections. There also tends to be an historical, institutional and commercial bias against indigenous content in the home market that marginalizes and limits local entrepreneurship, investment and market development. The key opportunities relate to changes like rising domestic cultural content in developing countries, the growth of Diaspora markets and networks, the increasing interest in authenticity and indigenous culture in the tourism industry, cost reductions in new digital technologies, the growth of global media (e.g. cable TV, satellite radio, Internet), and the emergence of Internet marketing and broadcasting. In this context existing strategies for ensuring competitiveness and sustainable development are inadequate. It is against this backdrop that recommendations for developing the potential of the cultural industries through the application of industrial, trade and innovation policies must be made. /www.caricomorg/index.php?options=com-docmantask/ Chapter -3 3. Research Design and Methodology 3.1. Research design To make the data valid and up to date and to arrive at reliable findings, the researcher applying the field and desk surveying method and then collects various types of data related to the study under consideration. Review of available literature and documents, collection and analysis of both primary and secondary data will be carried out. Interviews and discussions with relevant officials of the government and stakeholders will be also held. Relevant documents, journals, reports, books, newspapers, project reports, etc used as a source of information. 3. 1. 1 The types of research The study categorizes descriptive types of research and will carry out by quantitative research that can produce quantifiable numerical data. 3.1.2. Source of the data The researcher used both primary and secondary source of data to gather accurate and reliable information. 3.1.3. Data collection techniques To gather the reliable information, the researcher will use the following data instruments. Those are: Questionnaire, Interview, and Field observation. 3.1.4. Sampling Design The researcher distributes the Questionnaire for the stakeholders who are dwellers of the town and practice on cultural activities. The sample size will decide after actual observation done on cultural activities practitioners. 3.1.5. Sampling Technique: The researcher use both probability and non-probability sampling technique in collecting the information. From non-probability sampling the researcher use purposive (judgmental sampling). He uses his judgment to choose or pick only those who best meet the purpose of the study. From the probability sampling the researcher use stratified random sampling method to make the inclusive and to get data from different subject population 3.1.6 Limitation of the study Financial and time constraints will be the main challenges of this research study. Moreover, during the time of data collection, the study may face different problems such as unwillingness of the respondents and informants. Finally, the study will be challenged by lack of organized data which are relevant to the study. 4. CONCLUSION Misunderstanding of the impact of cultural industries on the economy system will be a challenge in Sub-Saharan African countries including Ethiopia even though the level and impact of cultural industries in creation of job vary from city to city. Hence, the general objective of the study will be to assess and analyze the impact of cultural industries on Gondar city administration economy, and to come up with possible solution to improve the existing problems. To substantiate the study, cultural industries related literatures are reviewed. To conduct the study both primary and secondary data will be obtained and analyzed. The primary data will be collected through questionnaires and structured interview and the collected data will be analyzed using descriptive methods of data analysis and will be presented with the help of tables graphs, figures and charts. Finally, based on the findings, possible recommendations will be drawn to improve the role of cultural industries on the economy of Gondar city administration city.

Criminology Psychological Theories Essay -- Social Psychology, Introve

Social Psychology is a field that attempts understated how thoughts, behavior and feelings are influenced by the implied presence, actual or imagined presence of others. Social influence involves the exercise of social power by a person or a group to change the altitudes or behaviour of others in a particular direction. Social power refers t o the â€Å"force available to the influencer to motivate change† (Allport, 1985). Young people are more prone to social influence due to need for conformity with their peers. This makes many teenagers in United Kingdom to indulge in criminal and deviant behaviours, which is closely associated with drug use and gang crimes. We can therefore argue that some emotional, psychological and biological characteristics make youths to indulge in gang crimes. It is hard to differentiate drug abuse and violence in United Kingdom or a cross the world at large. Adolescence drug use scares adults. The spectres of addiction, psychosis, alienation and rebellion provoke dramatic responses: legislations enact and create control agencies; social scientists conduct studies; and all these efforts are documented, evaluated and modified. In all these activities, however, the perspective of adolescents is neglected. They too, are concerned about dangers and are influenced by these controls, but their concerns are of different sorts. They are the ones who choose which drugs, if any, to try, who decide which use patterns to settle on; who experience the effects of drug use is a part of the adolescent’s social world. In fact they sometimes report the uses, meaning and consequences of drug use. It is therefore challenging to attempt to prevent or intervene in such a use are based on assumptions about the meaning of drugs ... ...sychology ( Vol. 1, 3rd.,pp1-46. New York: Random House. Bandura , A. (1977). Sociol Theory. New York. Universal Press. Block Herbert & Arthur Nienehoffer, the gang: a study in adolescent behaviour. New York. Universal press. Decker Scott (1996) Collective and Normative Features of Gang Violence. Washington : National Institute of Justice. Eysenck. H (1964). Crime and personality. London: Routledge & Kegan Paul. Howell James (1997) Youth Gang Drug Trafficking and Homicide: Policy and Program Implications Juvenile Justice Journal 4: 4-5 Kohlberg ,l. (1969). Stage of Moral Development and Action: New York. Winston Publishers. Lange J. Crime as a Destiny. London. Allen & Urwin. Marshalls lance & David Crook (1999). The childhood experience of a psychopath: A retrospective study of familial and societal factors. Journal of personality disorders, 13,211-225.

The Future of Computer Programming :: Essays Papers

The Future of Computer Programming Computers are probably the most important invention of this century if not of all time. Right now people use computers for just about everything in the world and they are becoming a necessity in peoples’ lives just as many other new technologies. To say you cannot use a computer this day and age is almost like saying you are illiterate. In order for computers to function and be accessible to people there must be applications or instructions for the computer. In order to make these applications one must write them by programming in a certain computer language. These languages are usually somewhat hard to learn and many people shy away from them. As technology has progressed there has been the development of new and easier programming languages but it is still hard for children and others without much computer experience to learn. Since there is this dilemma in the world today, the many computer scientists and computer experts have come together to discuss new ways of approachin g the problem. One solution to this problem was the development of visual languages such as Visual C++ and Visual Basic. There also new languages being developed and improved on such as XML and Ruby. Many other languages are being developed at this moment and someday there will be languages simple enough for everyone to use. The first form of programming appeared about the same time as the invention of one of the first computers in 1942, known as the ENIAC. Programming for this was very tedious and required the setting of switches and rewiring of wires. Programming for this computer progressed after some time but took a major turn in 1957 when the first of the many major languages came about known as FORTRAN. FORTRAN was good at scientific programming, but it had no help on the business world. In 1959 a new language called COBOL came about and it became known as the programming language for businesses. In 1958 a language was developed that would have a huge effect on the programming industry. A scientific committee came up with the Algol language which led to creation of the popular languages we have today like C, C++, Java, and Pascal. In 1964 one of the first attempts at making a language for non-computer science people was developed by John Kemeny and Thomas Kurtz called BASIC. In 1972 C was created b y Dennis Ritchie and probably has had the biggest effect on computer of all the languages.

Summary of Reconfigurable Antennas for Wireless and Space Applications

Satellite and Mobile Communication Course Course Number: 361-2-5931 Lecturer: Professor Arnon Shlomi Article Summary Assignment â€Å"Reconfigurable Antennas for Wireless and Space Applications† By Christos G. Christodoulou, Fellow IEEE, Youssef Tawk, Steven A. Lane, and Scott R. Erwin, Senior Member IEEE Proceedings of the IEEE 100, no. 7 (2012): 2250-2261 Assignment by: 1. Introduction A reconfigurable antenna (RCA) is an antenna that is able to be formed, or bent. From this definition one can deduce the significance of such antenna to wireless communication. RCA will allow adaptation, additional functionality and more versatility.Therefore, RCAs, with the ability to radiate more than one pattern at different frequencies and polarizations, are necessary in modern telecommunication systems. The article discusses the different reconfigurable components that can be used in an antenna to modify its structure and function. These reconfiguration techniques are either based on the integration of radio-frequency micro-electromechanical systems (RF-MEMS), PIN diodes, varactors, photoconductive elements, or on the physical alteration of the antenna radiating structure, or on the use of smart materials such as ferrites and liquid crystals.All of the above techniques redistribute the antenna currents and thus alter the electromagnetic fields of the antenna’s effective aperture. Therefore, enabling the antenna to enhance its bandwidth, change it operating frequency, polarization, and radiation pattern. 2. Reconfiguring Techniques Six major types of reconfiguration techniques are used to implement reconfigurable antennas, as indicated in Fig. 1. Here I shell focus on two, electrical and optical RCAs. RCAs can be classified into four different categories. a) frequency RCA; (b) radiation pattern RCA, for this category, the antenna radiation pattern changes in terms of shape, direction, or gain; (c) polarization RCA; and (d) combination of the previous categorie s. There are several advantages in using reconfigurable antennas. (a) Ability to support more than one wireless standard. Hence, it minimizes cost and volume requirements, simplifies integration and offers good isolation between different wireless standards; (b) lower front-end processing.Therefore, there is no need for front-end filtering and there is a good out-of-band rejection; (c) best candidate for software-defined radio. Thus, has the capability to adapt and learn and can be automated via a microcontroller or a field programmable gate array (FPGA); and (d) multifunctional capabilities. Consequently, can change functionality as the mission changes, can act as a single element or as an array and can provide narrow- or wide-band operation. However, there are disadvantages for adding tunability to the antenna behavior. a) the design of the biasing network for activation/deactivation of the switching elements which add complexity to the antenna structure; (b) increase in the requi red power consumption due to the incorporation of active components which augments the system cost; (c) generation of harmonics and inter modulation products; and (d) need for fast tuning in the antenna radiation characteristics to assure a correct functioning of the system. Figure 1: Techniques to achieve RCAs 2. 1.Electrically RCAs The ease of integration of such switching elements into the antenna structure has attracted antenna researchers to this type of RCAs despite the numerous issues surrounding such reconfiguration techniques. These issues include the nonlinearity effects of switches, and the interference, losses, and negative effect of the biasing lines used to control the state of the switching components on the antenna radiation pattern. RF-MEMS: The antenna shown in Fig. 2 is a reconfigurable rectangular spiral antenna with a set of RF-MEMs switches, which are monolithically integrated and packaged onto the same substrate.The antenna is printed on a PCB substrate and fe d through a coaxial cable at its center point. The structure consists of five sections that are connected with four RF-MEMS switches. The spiral arm is increased by discrete steps as integer multiplications of the length of the first segment of the rectangular spiral. It is increased following the right-hand direction to provide right-hand circular polarization for the radiated field. The location of switches is determined such that the axial ratio and gain of the antenna are optimum at the frequency of interest.Based on the status of the integrated RF-MEMS, the antenna can change its radiation beam direction [2]. Figure 2: (Left) a radiation pattern RCA. (Right) fabricated prototype with the biasing line 2. 2. Optically RCAs An optical switch is formed when laser light is incident on a semiconductor material. This results in exciting electrons from the valence to the conduction band and thus creating a conductive connection. The linear behavior of optical switches, in addition to t he absence of biasing lines, compensates for their lossy aspect and the need for laser light to activate them.Integrated Laser Diode: Optically RCAs can be implemented by integrating laser diodes directly into the antenna substrate. A copper piece is attached to the back of the antenna ground, as shown in Fig. 3. This piece has a minimal effect on the antenna radiation pattern since it has a small depth and a smaller width and height as the antenna ground plane. The laser diodes are activated via a current driver to generate the required output optical power. An example of this type of reconfigurable antenna is shown in Fig. 3a. The antenna top layer is the radiating patch while the bottom layer represents the antenna ground plane.Two silicon switches (S1 and S2) are included to allow the antenna to tune its resonant frequency. To activate the silicon switches, laser diodes are integrated within the antenna substrate by attaching a small copper piece to the ground of the antenna, as shown in Fig. 3b. Two holes are drilled throughout the substrate in order to allow the light from the laser diode to be delivered to the silicon switches. These copper pieces are also used as a heat sink for the laser diodes [3]. Figure 3: (a) optically RCA. (b) Laser diode integration with copper fixture, back layer. (c) Prototype, to layer . 3. Smart Materials RCAs Antennas are also made reconfigurable through a change in the substrate characteristics by using materials such as liquid crystals or ferrites. The change in the material is achieved by a change in the relative electric permittivity or magnetic permeability. In fact, a liquid crystal is a nonlinear material whose dielectric constant can be changed under different voltage levels, by altering the orientation of the liquid crystal molecules. As for a ferrite material, a static applied electric/magnetic field can change the relative material permittivity/permeability. . Satellite Applications The need for dynamic space app lications has led to the realization of RCAs for satellite communication. In such systems, it is necessary to reconfigure the antenna radiation pattern to serve a new coverage zone, limit fading in rainy areas, and maintain high data rate at all possible frequency bands of operation. E. g. an antenna structure for satellite applications generates an elliptical beam ranging from 10. 95 to 14. 5 GHz using an 85-cm aperture. Using a rotational and zooming mechanism, the antenna can tune its radiated beam from a â€Å"small ellipse† of 2. 3 °X3.  ° to a â€Å"large ellipse† of 6 °X9 ° [4]. Reconfiguration in space has also been achieved through the use of deployable antennas. These antennas change their shape from compact, small structures to large blooming antennas in space. The objectives are to realize high gain and high directivity, which are primarily determined by the size of an antenna aperture. The antenna itself can be reconfigurable to cover several frequ ency bands as the mission of the satellite changes. 4. Summary Reconfigurable antennas were divided into electrically, optically, physically, and smart-material-based tunable structures.Christodoulou et-al expect future smart reconfigurable antennas to be completely multifunctional and software controlled with machine learning capabilities that can detect changes in their RF environment and react accordingly. Moreover, the merging of deployable and reconfigurable antennas will open new frontiers in the design of antennas for space communications. 5. References 1. Christodoulou, Christos G. , Youssef Tawk, Steven A. Lane, and Scott R. Erwin. â€Å"Reconfigurable Antennas for Wireless and Space Applications. † Proceedings of the IEEE 100, no. 7 (2012): 2250-2261. 2. won Jung, Chang, Ming-jer Lee, G. P.Li, and Franco De Flaviis. â€Å"Reconfigurable scan-beam single-arm spiral antenna integrated with RF-MEMS switches. † Antennas and Propagation, IEEE Transactions on 54, n o. 2 (2006): 455-463. 3. Tawk, Y. , J. Costantine, S. E. Barbin, and C. G. Christodoulou. â€Å"Integrating laser diodes in a reconfigurable antenna system. † In Microwave & Optoelectronics Conference (IMOC), 2011 SBMO/IEEE MTT-S International, pp. 794-796. IEEE, 2011. 4. Roederer, Antoine G. â€Å"Antennas for Space: Some Recent European Developments and Trends. † In Applied Electromagnetics and Communications, 2005. ICECom 2005. 18th International Conference on, pp. 1-8. IEEE, 2005.

Dimensions and Theme in The Killers

On the eve of the grand economic crisis of the capitalistic world, the late 1920's is a turbulent period in the U. S. A. with violence and horror permeating the whole society underneath the surface of the temporary steadiness and prosperity. Among all the novels depicting the dark life then, The Killers is unanimously considered as the best for its superb technic and profound theme. The Killers offers a perfect example of a narrative that challenges and rewards the readers' perception of its structure. The structure of a Hemingway's story can usually be described, conventionally enough, with a set of scenes marked by a change in setting or by a change of characters. What is unconventional and so inscribes his fame as a modernist is that the scenes often are juxtaposed with little transition and less logic to effect or explain their sequence or rationale as a result of his prose style with its syntax linking sentences and simple causes without conjunction and subordination. This is not to say that the structures of the stories lack form or significant pattern, but they are coherent and connected in a sort of dimension which Hemingway said he learnt from cizanne's paintings. In The Killers, there are totally three main scenes: Henry's lunchroom, Hirsch's rooming house, and again Henry's lunchroom. The first scene opens with two strangers entering Henry's lunchroom, where George is waiting on Nick Adams at the counter. The strangers, Al and Max, try unsuccessfully to order from the diner menu, then settle for sandwiches, after which their small talk turns ugly. Al takes Sam the cook and Nick into the kitchen, gags and ties them up, and then he and Max reveal that they are waiting to kill the heavyweight prize fighter Ole Andreson when he comes to have dinner at six o' clock. At last, Ole Andreson does not arrive; the killers leave. In the second scene, Nick goes to Hirsch's rooming house to tell Ole about two men waiting to kill him and offers to tell the police; but Ole, lying on his bed and looking at the wall, says that he got in wrong; there is nothing to do and he is through running. In the third scene, Nick comes back to Henry's lunchroom and tells Sam and George his experience at Hirsch's rooming house. Sam won't listen to it and goes to the kitchen. The story ends as Nick wonders what Ole did, and George says; â€Å"Double-crossed somebody. That's what they kill them for. â€Å"I'm going to get out of this town,† Nick said. â€Å"Yes,† said George, â€Å"That's a good thing to do. † â€Å"I can't stand to think about him waiting in the room and knowing he is going to get it. It's too awful. † â€Å"Well,† said George, â€Å"you'd better not think about it. † In the first two scenes, the readers may get confused with the arrangement and disappointedly fail to wo rk out the theme, for despite all the impending violence and seemingly inevitable bloodshed, nothing happens: the killers do not kill and their victim still lies with his face to wall. The dimensions of the first two scenes seem to by default direct the readers' attention to the story's factual details: the two killers Al and Max are indistinguishable, dressed like twins or a â€Å"vaudeville team†; their sandwich orders are interchanged; they eat with their gloves on; they call George â€Å"bright boy† and suggests him going to see a movie; they get the lunchroom prepared for the killing; the nigger cook repeatedly complains and of George gives his careless remarks. However, no matter what image the readers have of the two dimensions, it will reflect the obvious symmetry between them: the action of the first scene is followed by the reaction of the second. And as the story moves on to the third dimension where the theme finally set in, the readers, with a reminiscent view, can figure out that all the details which seem irrelevant to the killing in the previous two dimensions, now, in re-perception, are closely knitted to serve the theme. The incident takes place when three men are in Henry's lunchroom: the cook Sam and the two waiters, George and Nick. Sam, from the very beginning, tries best to keep himself away from this killing: when Nick wants to go to inform Andreson, he advices Nick â€Å"to stay out of it†, â€Å"not to have anything to do with it at all. † Then Nick decides to go to Andreson in Hirsch's rooming house, he says: â€Å"Little boys always know what they want to do,† satirizing young men like Nick know nothing about possible danger in the unsafe society. Finally, Nick returns and gives his account of Ole Andreson's reaction, he won't even listen to it and shut himself in the kitchen. Having seen a lot of such violence of the society and got frightened by his own experience several minutes ago, Sam knows clearly the danger and darkness, and does not â€Å"want any more of that. † Thus he acts in a cowardly way to insure his own security. George also seems quite familiar with this sort of business: he becomes very suspicious of the two men when they mistake their own order and eat with their gloves on. As soon as the two killers mention Andreson, he knows their purpose of killing that boxer. Although he asks Nick to go to see Andreson, he does not care the whole thing much. When Nick asks him why the want to kill Andreson, he just make dismissive explanation â€Å"double-crossed somebody, that's what they kill them for. † For him, murdering is not a big event, since there are many â€Å"them† killed by â€Å"they† every day, he simply has already got used to it. Of the three men, Nick is the only one who shows great concern to the attempted killing. Innocent enough, he, in spite of Sam's warning, goes to inform the boxer. In Hirsch's rooming house, the boxer, although knowing himself in danger, lies on his bed helplessly and does not want to run. He tells Nick: â€Å"There ain't anything to do,† â€Å"I'm through with all that running around,† which gives Nick an even more terrible shock than that he is gagged and tied up by the two killers. So horrified Nick is, he decides to leave the town, â€Å"I can't stand to think about him waiting in the room and knowing he's going to get it. It ‘s too damned awful. † Thus, at this stage, the readers can see that the theme that Hemingway wants to express is not only to expose the violence and turbulence of society at that time, but in a more profound dimension, to reveal the shock and hurt of all these viciousness and wickedness to the innocent souls like Nick who will bear the image of that doomed boxer into his maturity. Therefore, although the title of the story is The Killers, the hero is actually the young man Nick, whose innocence in the setting of the cruelty of the killers, the cowardice of the cook, the indifference of George and the despair of Ole Andreson, refracts the instability and violence of the society at that disordered time. In The Killers, Hemingway, with his geometric design of the scenes, presents a story of simple plot but profound meaning, debunking the unsteadiness and turbulence of the apparently thriving society. Reading this story is just like viewing cizanne's landscape paintings: one has large room to perceive and appreciate its beauty and meaning in different dimensions.