Summertime Essays (90 words) - Oral Literature, Vocal Music

Summertime ?Summertime? Summer is here and the sun is bright, I can stay out late and party all night. Hanging out with friends is what I like, And being with hot girls is my delight. I can't figure out whether to play ball or skate, Maybe I should do both because both are great. But, during the summer I love to go on vacation, Because it gives me a special sensation. Finally, the summer comes to an end, And it's time for school to start and begin. Poetry and Poets

Free Essays on Mandatory Reporting

abusing another person. Compared to the Child and Young Persons Act (1989) definition of child abuse which is delineated under the four categories, Physical, Sexual, Emotional abuse and Neglect, a strong similarity is present. Children who are victims of these four categories of assault have available options to protect themselves, if they are confident to speak out. There are many who can help. If the child is not confident in talking to a member of the family or a friend, different options are accessible. Services are available including health centres, counselling support centres, phone help lines. Professions including teachers, police officers, medical practitioners and psychologists are obliged to notify the Secretary of the Department of Human Services of any suspected physical or sexual child abuse. The Government did not bring mandatory reporting into Victoria until 1993, much later than many other states in Australia. Due to statistics of child abuse reporting in other states the government took in to consideration the benefits of compulsory reporting. There were many individuals and groups who realised the necessity of this form of reporting for child abuse in Victoria. The Law Reform Commission of Victoria were the main organisation involved in implementing mandatory reporting. They argued the benefits including the available protection to prevent further abuse and the increase amount of reported child abuse cases. To determine if mandatory reporting would be beneficially to the commun... Free Essays on Mandatory Reporting Free Essays on Mandatory Reporting An increasingly common issue in today’s society is child abuse. A high percentage of child abuse takes place within family, involving physical and/or mental assault. In many cases the victim is pressured into keeping the abusive acts quiet, placing an additional burden on them. Mandatory reporting is one of the only options that is playing an effective role in abuse. Abuse is defined in the dictionary as ill-treatment, insult, words abusing another person. Compared to the Child and Young Persons Act (1989) definition of child abuse which is delineated under the four categories, Physical, Sexual, Emotional abuse and Neglect, a strong similarity is present. Children who are victims of these four categories of assault have available options to protect themselves, if they are confident to speak out. There are many who can help. If the child is not confident in talking to a member of the family or a friend, different options are accessible. Services are available including health centres, counselling support centres, phone help lines. Professions including teachers, police officers, medical practitioners and psychologists are obliged to notify the Secretary of the Department of Human Services of any suspected physical or sexual child abuse. The Government did not bring mandatory reporting into Victoria until 1993, much later than many other states in Australia. Due to statistics of child abuse reporting in other states the government took in to consideration the benefits of compulsory reporting. There were many individuals and groups who realised the necessity of this form of reporting for child abuse in Victoria. The Law Reform Commission of Victoria were the main organisation involved in implementing mandatory reporting. They argued the benefits including the available protection to prevent further abuse and the increase amount of reported child abuse cases. To determine if mandatory reporting would be beneficially to the commun...

Head-to-Toe Assessment Essay Example | Topics and Well Written Essays - 1250 words

Head-to-Toe Assessment - Essay Example For this purpose, a disposable, electronic or tympanic thermometer is required (Amugi-crouch& Meurier, 2011). Since temperature of the patient is within such a narrow range and is required to take accurately, the presence of a thermometer is essential, as it cannot be measured without it. Pulse is measured directly by the monitor that is used to measure other vital signs. However, if the machine is not available, it can be felt by palpating the pads of the first three fingers against the patient’s wrist and counting the pulse beats in one minute, starting from zero. Normal Findings: Temperature of the patient is between 36-37.5Â °C.Normal pulse rate is 60-100 (mean of 70) beats per minute. The systolic blood pressure normally ranges from 100-140mmHg. The diastolic blood pressure, on the other hand normally ranges from 60-90 mmHg. Abnormal Findings: Hyperthermia, pyrexia or fever occurs when the temperature exceeds 38Â °C. An excessively high temperature- such as above 40Â °C is known as hyperpyrexia. Hypothermia where in the temperature of the patient is below 35Â °C A pulse rate of under 60 beats per minute is termed bradycardia and may occur in hypoxia, ischemic heart disease etc. A pulse rate of over 100 beats per minute is termed as tachycardia. It may occur in stress, anxiety, pyrexia and pain (Amugi-crouch & Meurier, 2011).Hypertension occurs when the blood pressure readings remain consistently over 140mmHg for systolic and 90mmHg for diastolic blood pressure. It may result from the excess consumption of caffeine and in excessively cold environments. Hypotension occurs when the blood pressure readings fall below 100mmHg for systolic and 60mmHg for diastolic blood pressure (Talley & O’Connor, 2009). It may result because of shock, pulmonary embolus and cardiac failure (LeMone et al 2012). Nursing Plan in abnormal findings: The plan taken will be primarily to

Artist critique Essay Example | Topics and Well Written Essays - 1000 words

Artist critique - Essay Example lasted for more than six centuries still exhumes realistic features of the early society with the artists portraying specific features of the painting thereby communicating as effective as he had fist anticipated. Renaissance refers to the period of rebirth; in culture and art, the period witnessed an increase in knowledge pioneered by some of the most realistic scientific inventions and religious realizations that have shaped the society to this date. Artists captured the social developments in their critical art works which helped portrays specific features of the society through the eyes of the artists. Italy has remained a strategic society in the development of both religion and scientific knowledge with most of Italian scholars and artists being among pioneers of the modern day knowledge. Piero della Francesca is therefore one of such artists who seek to portray features of the religion in the early Italian society. His works and type of painting influenced several others artists including Melozzo da Forlà ¬ and Fra Carnevale both of who were his fellow Italians. Piero della Francesca painted Saint Jerome and a Supplicant, in 1450 as his representation and criticism of the Christian faith that had spread to various parts of the continent. Religious art works were famous at the time as the Catholic Church sought to use such art to improve the reputation of the church. Most of such arts hung in churches and in homes of some of the leading figures in the church. The painting displays currently in New York museum of art. Still life is the subject matter in the painting, which adopts an abstract approach to art and the portrayal of the society in such works. The painter provides an abstract portrayal of the society developing a visible background, middle ground and fore ground in his image thereby communicating effectively through the painting. The activity in the painting centers on Saint Jerome, possibly a leader of the church at the time. The old frail man

Public Policy Analysis Assignment Example | Topics and Well Written Essays - 750 words

Public Policy Analysis - Assignment Example The strength of this framework lies in that it takes into consideration, all the actors at play, and their mutual dynamics, in a given policy situation. The shortcomings in the prevailing, stages heuristic theory, the problems with both â€Å"top-down and bottom-up approaches†, and the lacunae in the existing theories with respect to â€Å"scientific and technical information† had prompted the birth of the Advocacy Coalition Framework (Weible, Sabatier and McQueen, 122). This theory has looked at policy change as an attribute of several factors, namely, science and technology, time span, â€Å"policy subsystems†, and individual â€Å"beliefs† (Weible, Sabatier and McQueen, 122). It is the collective action of different advocacy groups that form into a temporary coalition on a specific issue (even if these groups differ among them on other issues) that is projected as a catalyst for policy change, according to this theory (Birkland, 300). Both the subsystem events and changes in the external policy environment have been viewed by this framework as to cause policy change (Weible, Sabatier and McQueen, 123-4). ... The basic notion of this theory has been that â€Å"individuals- acting alone, or within organizations- are utility-maximizing, rational individuals who are goal-oriented and use near-perfect information to weigh a range of options before adopting the optimal choice based on their calculation of costs and benefits† (Birkland, 302). This is a rule-based framework (where rules are implicit rather than binding), where policy changes are determined by â€Å"encompassing efficiency, equity, accountability, â€Å"conformance to general morality†, (†¦), and adaptability† (Birkland, 304). From this theoretical perspective, the actors who bring about policy change are acting either â€Å"as individuals or as groups functioning as a corporate actor† (Warne, 20). This theory has also envisaged a three tier process of policy creation/change, the tiers being, â€Å"operational tier (†¦) collective tier (†¦) (and) constitutional tier† (Warne, 20-21 ). My personal experiences and understanding of public policy suggest that the Advocacy Coalition Framework has succeeded in identifying the wider and specific aspects of policy making and integrating them beautifully, but it has failed to notice that all negotiations can happen only within the given legal and moral realm. On the other hand, the theory of Institutional Rational Choice has stressed the universal aspect of a policy choice. It has been successful in incorporating the coalition element of the Advocacy Coalition Framework, as one among its three tier model and has thus went beyond the Advocacy Coalition Framework to put forth a more comprehensive theoretical model. But all the same, the Institutional

Relationship Between Museum and Cultural Identity

Relationship Between Museum and Cultural Identity THE MUSEUM AND THE CITY: AN EMBODIMENT OF CULTURAL IDENTITY OF THE CITY IN WHICH IT STANDS INTRODUCTION As society enters a new century, many cultures have recond to an age of globalisation and, in turn, are embracing the idea of contemporary living. This results in the development of cutting-edge technology, new methods of communication, and the rapid growth of cities, causing indigenous culture of cities to increasingly blend. The desire to embrace this dynamic compels many architects to consider ways of creating architecture truly representative of a wide range of humanity. These new advances create city growth, impacting on urban form and the design process of the public institutions, including museums, which is what this dissertation will primarily explore. The result is to extend the range of materials, forms, cultural references and social thinking available to museum architecture. But does this create an uninspired sameness, where some identities are being ignored and/or distorted? Where the notion of cultures integrating really means the identity struggle between the dominants and the dominated? One could speculate that now, more rapidly than before, the architecture of the museum and the city simultaneously evolve to meet the cultural identity of the people. But are these buildings, in fact representative of the national identity of a city or the individuality of the architect? This dissertation investigates the architects role in designing museums, establishing to what extent the design reflects or stems from the cultural identity of the city. The relationship between the museum and the city in which to belongs is complex. In order to establish an understanding, the study consults a wide range of resources that address issues of cultural identity within a museums national and civic perspective. Additionally, the research made reference to economic and political issues regarding museums, the study of how globalisation is reflected within a cultural and affects architecture, and case studies to support the statement that architects may intend for their museum designs to be representations of a cultural identity within the city. There are now new ways of experiencing, interpreting and remembering. The contemporary architecture of museums are a strong medium of cultural memory, developing from the museums traditional forms as monuments symbolising the power of key individuals within a society, into an expressive entity that creates dialogue between its contents and urban context. The otherwise conventional manner of designing develops into a world of contradictions, assorted rhythms and new ideas of beauty in the design of museums. The physicality of the building represents that of theatrical effects, incorporating contemporary elements of architectural form as a method of entertainment, whilst engaging the interest of the citys individuals and of those from further afield. Millions are drawn to what is no longer a dying institution, but a visual destination for the public, in a form that encompasses the societys identity. One can assume this is influenced by the cultural pluralism within the buildings city c ontext, and considering the many identities as a plural identity. The diverse elements are woven into a sustainable, integrated spatial fabric that contributes to the life of the city. An approach which allows architectural freedom for a building type that has been described by some sources as overlooked by the public. Due to this studys word restriction, it is not possible to evaluate in detail more than four relevant case studies. This limitation resulted in the careful consideration of case studies varying in terms of locality and architect. Furthermore, due to time restrictions, it was not possible to carry out additional primary research which could have entailed supplementary site visits to the investigated case studies and additional data found in initial research methods such as interviews and questionnaires. The dissertations methodology consists of individually exploring and studying four case studies against the dissertations argument, in order to then properly conclude whether it can be proven to be accurate. These case studies pose as cultural barometers, where during investigation they help assess the extent in which they fulfill a citys cultural identity. The examination method entails drawing on a combination of primary research such as site visits to secondary research, drawing on existing written information from books, articles and online sources. The case studies follow a chronological order, beginning with Chapter One: Frank Gehrys Bilbao Guggenheim, a museum which initiated an influence on the case studies that have followed such as Chapter Two: Daniel Libeskinds Jewish War Museum, Chapter 3: Herzog and de Meurons Tate Modern London and Chapter 4: Zaha Hadids Contemporary Arts Centre. To further develop whether an architects design of contemporary museums truly reflect the citys cultural identity, each case study is analysed in th light of the following issues: Globalisation outlines whether certain cultural identities are lost or just changing within the museums civic context, especially as cities more than nations contend to draw global attention through these culturally significant public buildings. The sub-chapter concerning National and Civic Identity explores how culture influences in terms of the architectural context of the museum in a national and civic perspective. This provides a framework for exploring how architects use ideas about culture and cultural contradictions to create the structures and spaces to engage a society. The issue will discover how the design of the museum is a task of seeking an image essentially of ourselves. Style and Identity of the Architect briefly examines how the architects own identity, who themselves are either travelers or immigrants, insiders/outsiders of the city in which they design for, influences the ultimate design of the citys museum along with their own architectural style. Economy and Poli tics is a sub-chapter concerning who pays, owns and benefits from the establishment of these institutions. How cities acquire signature museums in order to stimulate their economic and ultimately cultural development. The museum building boom has been accelerated by what has become known as The Bilbao Guggenheim Effect . The sub-chapter investigates how Frank Gehrys museum has influenced these case studies to replicate their own â€Å"Bilbao Guggenheim Effect† within their cities. By putting up a museum with architectural credentials, Gehry revitalised a civic and cultural image, demonstrating that a single building could energise and enhance an entire city and region. DISCUSSION THE CONTEXT OF THE MUSEUM: INVENTION AND REINVENTION Layer upon layer, past times preserve themselves in the city until life itself finally threatened with suffocation: then, in sheer defense, modern man invents the museum. [Lewis Mumford, The Culture of Cities] These words from Lewis Mumfords The Culture of Cities depicts how the museum was manifested as a commodification of a citys overpowering history (Giebelhausen, 2003 p. 1). The design development of this building type has been changing since the museum was established in the 18th century, beginning as a space for private collections of wealthy individuals, only accessible by the middle and upper class (Giebelhausen, 2003 p. 4). Presently, the museum is a response to contemporary social change, a space that wishes to connect within its urban fabric surroundings and open to all. A museums design acknowledges the way in which it can order, store and display its belongings, the institutions relationship to a city and surrounding cultures lacks investigation, leaving questions about the museums role in an urban context (Giebelhausen, 2003 p. 2). Culture surpasses the ways in which something can be represented and housed, it can be seen as an expression of us. Today, culture is challenged i n a world struggling for established institutions such as schools, libraries etc., which often are said to lack in relation to the people (Zukin, 1995, p. 11). Museums are no longer seen as fixed frameworks, but a place for public interaction and exchange. One could consider that one of the buildings functions is to absorb the cultures within the city, and then reflect and shape this within an architectural form. The museum itself visually exemplifies its roles within a city, for instance unlocking urban memories, reconfiguring the past, aiding in touristic rediscovery and exploitation of a place to the whole urban environment, roles that challenge the museums attempt to reconnect culture and a citys built form (Giebelhausen, 2003 p. 2). There is an ability to recon a city with the use of museums, from â€Å"systematically inserting them, to salvaging or reconstructing them† into the urban fabric (Giebelhausen, 2003 p. 2). Therefore the museums cultural significance surpasses that of any other building types. In The Museum Transformed, by Douglas Davis (1990, p.14) asserts that, â€Å"no building type can match the museum for symbolic or architectural importance† because it is so often redefined due to its stimulation from cultural development. The museum can be considered as an entity that defines, represents and creates cultural trends ahead of its own place in time. As quoted from MacLeod (2005, p.1), â€Å"As museums have come to be consciously recognized as drivers for social and economic regeneration, the architecture of the museum has developed from its traditional forms into often-spectacular one off statements and architectural visions.† Architects persuasively argue for a new type of ex perience, aiming to appeal to a general audience rather than the scholarly advisors soughing to replicate tradition (Giebelhausen, 2003 p. 3). This is an aspiration expressed from an analysis of contemporary society and its future direction, that being cultural diversity, resulting in the commissioning of strongly conceptualised museums to devote to multiplicity. As Relph (1976, p. 33) claims, †¦for each setting and for each person there are a multiplicity of place identities reflecting different experiences and attitudes; these are molded out of the common elements of appearance†¦through the changing interactions of direct observation with preconceptions. In the past however, the significance of museums were solely to serve a refined function, transcending the thinking of the scholars and academics, along with manifesting the power of a city (Giebelhausen, 2003 p. 4). Relph (1976, p. 35) provides evidence to this claim in mentioning, Public places which achieve their publicity through high imageability are not necessary innocent- their distinctive appearance or form maybe capitalised upon or even created as a statement of grandeur and authority to be regarded in awe by common people. The museum was considered a monument, take examples such as The Louvre in Paris, or the Uffizi in Florence, they are models of the grandeur museums encompassed (Merkel, 2002, p. 66), significant in urban context, deliberately chosen to emphasise a citys status, and drawing attention within a public space. Traditionally understood as temples of knowledge, the architecture itself could be said to represent the value of knowledge. This belief was prominent in the early period of museum founding where the scale of buildings also symbolised power, so much so that the museum evoked the metaphor of a cathedral. Historian Jayne Merkel (2002, p. 66) writes, Not surprisingly, palace architecture-grand, classical, urban, and horizontal-was a principal influence when the first museums were designed. But like most public buildings at the time, they were built in the classical style for other reasons as well, including classicisms associations with government, law (Roman basilicas), with the sacred (Greek temples and Italian Renaissance churches) and with the culture and art of the past. Today, the museum could be considered as a building type that satisfies a citys need for symbolic signification, and an indicator of metropolitan aspirations such as world-wide recognition. A desire to entertain and educate society, along with a â€Å"sensitivity that refuses to bore, alienate or pander to the public† (Zieger, 2005, p. 17). If this is the case, then the status of a great city can entail in encompassing several of these institutions, thus the spread of museums witnessed during the nineteenth and twentieth century indicating the start of city rivalry. At the start of the twenty-first century, the museum as architecture has been reinstated as an evocative entity, as opposed to decades devoted to neutral, voided spaces lacking symbolic significance and strict functionality termed as â€Å"white box† (Lampugnani Sachs, 1999, p. 15). Museums began to create dialogue with their content and urban context. They can be seen as similar in some ways to churches, to shopping centres and other places of gathering, but they have a function different from these examples, they contain things of enquiry. The museum has made a considerable contribution to a city, adding historic and cultural significance along with contributing to a citys metropolitan status, presumably due to the transformative possibilities of museums (Giebelhausen, 2003 p. 9). The city and its museum are in conjunction to one another, one could believe the museum is a citys method of revealing cultural meaning through its architectural forms. This belief is an advanceme nt from the words of the theorist Filippo Tommaso Marinetti, ridiculing museums as cemeteries, stating that they were â€Å"truly identical in their sinister juxtaposition of bodies that do not know each other,† along with a judgement that cultural institutions were dilapidating. (see Zieger, 2005, p. 7) A society today uses the museum to represent a new dynamic form of culture, reflected through an innovative physical form that is often considered a visual spectacle of the city, that one could believe draws visitors to it in theatre like fashion. Consequently it can be theorised that they are quickly becoming radical buildings constructed in a world driven by the need to address new concepts of diversity and equality (Zukin, 1995 p. 2). Rather than just â€Å"cultural cemeteries piling up gilt frame paintings† (Zeiger, 2005, p.11), they are spaces of social condensing- a space attempting to build a community rather than filling a city with volumes of emptiness. As Dan iel Libeskind was quoted in saying â€Å"†¦its not just some sort of container, some abstract piece if glass and concrete, it is part of a communicative system.† The design challenge in the multicultural growth of cities is to find an architectural expression that goes beyond the conventional, while something relevant to contemporary life. Contemporary museum design can be deemed as a physical entity of cultural trends developing within the city (Zukin, 1995 p. 2), either recognising which cultures are integrating or if the city epitomises a specific one. No matter what conclusions are drawn out from a citys cultural make-up museums are a place where people go to mix with others unlike themselves, by having a broad appeal they must aim to please a vast variety of people. Libeskind confirms this in his words, †¦(museum) architecture is what is common between people, and what a contribution it makes to the viability of a city, and to civic space. †¦we might as well make in inspiring environment, an environment that is more than just a shallow faà §ade of something inauthentic. (Cathcart, 2001) To avoid the idea of an undistinguished environment is by physically fitting in the cultural identity related to the city. The museum in a physical setting is a structural body of city understanding and city change. There can be no denying the importance of its architecture in the urban environment in terms of regeneration, tourism, symbolism and so on (Zukin, 1995, p.2). Society as a whole has been persuaded that museums are agents of social economic change. There has been an unprecedented period of radical reshaping, building, rebuilding in the design of these institutions that cannot be disassociated from the drive for cultural inclusiveness and diversity. A building with space that can be considered with endless possibilities for use when â€Å"escaping the straitjacket of conforming to a giving role and move into a sharing mode† (MacLeod, 2005, p.25). In other words, a diverse audience needs a diversity of spaces that reflect, provoke and thrill. CHAPTER ONE : FRANK GEHRYS BILBAO GUGGENHEIM CHAPTER TWO: DANIEL LIBESKINDS JEWISH WAR MUSEUM CHAPTER 3: HERZOG AND DE MEURONS TATE MODERN LONDON CHAPTER 4: ZAHA HADIDS CONTEMPORARY ARTS CENTRE CHAPTER ONE : FRANK GEHRYS BILBAO GUGGENHEIM Frank Gehrys Guggenheim museum is acknowledged worldwide as a magnet for tourism, but can it be truly considered an expression of the Basque peoples cultural identity? Or is it just an architects expressionist gesture in an industrial city? The New York Times depicts The Bilbao Guggenheim as part of an ambitious plan to revise the city as an international centre of culture. The museum is not just a neutral container where art is stored and presented, but a place where the institution itself is in relation with the public. GLOBALISATION It could be said that globalisation creates struggle between the dominant and the dominated cultures within a society and the search for a reconstructed identity of a society. (AlSayyad, 2009, p. 22) Within the Spanish Basque region, it is evident that their identity has been burdened with tension in their attempt to stress their own regional identities and singularities from the rest of Spain (Guasch and Zulaika, 2005, p. 74). However one can argue that in this case globalisation has become a force in strengthening and proliferating a cultural identity, allowing the idea of identity to change into a more universal commodity represented by the museum itself. But how do issues of globalisation affect the architecture itself, especially in terms of the Bilbao Guggenheim? The new advances of technology, communication and construction methods create interventions for local cultures and establish the identities of a place. Gehrys use of cutting-edge computer design technology enabled him to translate his forms into reality (Chulvi, 2007) (see 1.1). Architectural statements such as the Guggenheim Bilbao are often questioned at times in whether or not they have relation to the place and identity. There could be two sides to this argument, one side could be seeking to safeguard and extend already established indigenous architectural traditions, promoting historical continuity and the preservation of identity through traditional decorative forms. The other side which is in more relation to the Guggenheim Bilbao, considers globalisation as a force that seeks to encourage invention and distribution of new forms using new materials and technology in response to changing needs to have relation to the place and identity. Gehry has been quotes in saying, â€Å"Democracy is good for architecture. Pluralistic ideas are what we want presented in architecture, the lead to a visual chaos is part of our lives† (Guasch and Zulaika, 2005, p. 58). There is an opportunity for growth in unique architectural forms in all of its diversity and 2903687145_5cb25af9b6 inclusivity. NATIONAL AND CIVIC IDENTITY The Basque people have been able to preserve their distinct culture and language while flourishing in an environment of globalisation, post-modernity, and European integration (Castillo, 2008). Currently, integrating the two social collectives of nationalists and non-nationalists within the region is growing (Castillo, 2008). However how does a group of people who have never had a country to call their own continue to hold on to their own cultural identity? The Bilbao Guggenheim is a phenomenon of cultural development employing â€Å"the three successive phases posited by the theory of cultural epochs- a period of chaos, a period of adjustment, and a period of equilibrium in cultural change† (Guasch and Zulaika, 2005, p. 74). All around the world culture operates as an engine for new regional and urban development, one could say that no strategic growth of a city would take place without the role of culture (Zukin, 1995, p.11). In the case of the Basque region, it was sufferin g deterioration caught up in a decline in inspiration along with cultural institutions progressively being abandoned. Simultaneously, the Guggenheim Foundation was in need of a new concept of the museum, capable to withstand the achievement of Guggenheim in New York, yet gaining its own recognition abroad. Co-operation between two considerably different cultures occurred in recovering the identity of a small society (Guasch and Zulaika, 2005, p. 77). As Frank Gehry himself explains , the museum embodies two different cultures, the Basque culture and American, which is considered as a melting pot used to extend its arms to everybody (Farnsworth, 1997). The Bilbao Guggenheim is proof of culture being a key strategy in not only providing a physical renewal but a new injection of self-esteem within a city and an entire region. (see 1.2) Culture in the case of the development of this building, can be seen as something essential to humankind and above all to a society in regaining values and providing a sense of identity. Rather than ignoring the cultural context of the city entirely, the fabric is restored, connecting any form of cultural isolation with the new building. The curving forms of the building glide over the River Nervion, a main bridged entry to the Spanish city, shattering strict perpendicularity and ridged geometry regularly associated with museum architecture, providing a new model of collective identification (Guasch and Zulaika, 2005,p. 42). The rejection of these norms is emphasised by the titanium cladding, making the building appear as a single entity that intertwines the city around it. Like the Basque region the building is a place of â€Å"contested borders† (Guasch and Zulaika, 2005,p. 42). (see 1.3) Whether Gehrys building actually erases the citys cultural heritage is debatable. Bilbao is famous for its maritime history, after Barcelona, it has Spains largest port. The Bilbao Guggenheim pays tribute to its own surroundings as it edges onto the riverfront. Its exterior sculpted out of steel, which is traditionally the main industry of the city (Guasch and Zulaika, 2005, p. 154). The museums relationship with the city is conceived as the outcome of a perceived social need, as society changes and new social needs arise, new building forms will be produced in order to fulfill that need. The Bilbao Guggenhem facilitates a complete urban facelift, a driver for the citys urban regeneration, communicating not only its importance to the city as a powerful foci, but the citys mark in the cultural world. As a result, after Bilbao every city aspires to its own Guggenheim effect the â€Å"build it and they will come† (Barreneche, 2005, p.6) belief is what cities have taken on for their museums after untitled STYLE AND IDENTITY OF ARCHITECT Frank Gehry is widely recognised as a North American architect whose combination of steel, high-tech and flowing designs have broken the rigid hold of rectilinear design that has dominated most of Modern architecture (Zieger, 2005, p. 8). However the question remains: is it a good idea for the city to have an international museum built by a foreign architect? Gehry was quoted as spending a lot of time trying to understand the culture and trying to understand the Basque people. He explains, I related to them because I was raised in a Jewish upbringing in Toronto, Canada, so I was an outsider into the culture when I was a kid. And I understandI empathized with this outsider role, andbut I cant put my finger on a piece of the building and say this is Basque, but they seem to think I captured their spirit. I tried to use the materials of the region to build the building. The stone in Spanish. The steel structure is Spanish. All the work people were Basque. (Farnsworth, 1997) One can assume to Gehry a rich piece of architecture would combine elements in a way that preserve the coherence of their origins. At its best, the process of gathering cultural elements and marrying them to the sensitivities of a gifted architect can result in a powerful work of architecture such as the Bilbao Guggenheim. According to the Bilbao Revitalization Plan, the natural slope running down to the riverfront was to be transformed into a green valley, but Gehry did not want to lose the industrial feel of the existing waterfront. (see 1.4 1.5) People say that the design of the museums architecture was inspired during Gehry climb up the Mundana, one of the highest mountains in the outskirts of Bilbao. â€Å"Seen from the river, the building appears to take the shape of a boat paying homage to the port city that has given its home. The museums bright, shining panels resemble fish scales, reflecting the influence of natural forms and shapes.† (Chulvi, 2007) One could argue that the architects use of abstract, free-form components from local materials are reminiscent of Modernist Spanish sculptures, a cultural aspect valued by the Basque, or how the architects design of the enormous boat-shaped gallery is a dedication toward Bilbaos past as a centre of shipbuilding and trade (Guasch and Zulaika, 2005, p. 154). Many would argue that Gehrys design for the Bilbao Guggenheim truly reflects the identity of the Basque people even though the architect himself has no relation to region. However, there is a degree of sensitivity to the regions character that can be witnessed through the architecture. The city of Bilbao places an emphasis on the institution Gehry has designed, as having an important role in defining public culture. This has been achieved through the architects process of negotiating what architectural expressions could be accepted by the people. ECONOMY AND POLITICS Gehrys museum was hailed an as instant landmark, bringing a sense of relevance to architecture in the transformation of cities. (Guasch and Zulaika, 2005, p. 7) The Basque region was in need of local development due to its rustic city appearance and distinct regional identity compared to the rest of Spain. Primarily, the Basque region was in need of distancing itself from the negativity that it was associated with, such as being recognised as a terrorist region. Bilbao, the largest city in the Basque country, is a stronghold for the separatist group ETA (Basque Fatherland and Liberty), which seeks independence from Spain through often violent behavior (Farnsworth, 1997). For the Guggenheim Foundation this was an opportunity to fund a centerpiece of huge urban renewal for Bilbao. Previous museum concepts were of a private space for seekers of wisdom, philosophers and historians. Currently the museums directors are in favor of new futuristic architectural visions that were unimaginable years before, representing a museums city and forming the basis of urban regeneration such as Bilbao Guggenheim. The titanium shapes flourish through Bilbaos dark cornices and nearby smokestacks, as Andrew Friedman (see Zieger, 2005, p. 9) explains, †¦the nearby smokestacks and cranes; they seem†¦to be Gehrys whimsical idea of visually rendering the tumultuous and violent process by which a once-working industrial waterfront is brought to heel-an actual enactment of the grim process that the Guggenheim makes a point of capitalising on. The capitlisation Friedman mentions is the transformation of Bilbao from living city to an architectural destination. In other words the city acquires a signature building in order to stimulate a citys makeover (Zeiger, 2005, p.9). The design of the museum is recognised as a drive for social and economic regeneration, from traditional forms, to, in this case, a spectacular one off statement that challenges architectural preconceptions and creates a visual feast while maintaining the integrity of the site. Why have contemporary museums become a favorite tool of urban regeneration and redevelopment schemes since the Bilbao Guggenheim? Referred to as the â€Å"miracle,† (Guasch and Zulaika, 2005, p. 7) Frank Gehrys Bilbao Guggenheim changed the face of the Bilbao city, and set up to give a new purpose to an abandoned industrial estate. â€Å"Since the Guggenheim was built, Bilbao has never been the same again the museum has helped create pedestrianised areas that run from the t own hall to the port on the shores of the river.† (Chulvi, 2007) The answer is that museums allow an opportunity for growth in unique architectural forms in all of its diversity and inclusivity. CHAPTER ONE : FRANK GEHRYS BILBAO GUGGENHEIM CHAPTER TWO: DANIEL LIBESKINDS JEWISH WAR MUSEUM CHAPTER 3: HERZOG AND DE MEURONS TATE MODERN CHAPTER 4: ZAHA HADIDS CONTEMPORARY ARTS CENTRE CHAPTER TWO: DANIEL LIBESKINDS JEWISH WAR MUSEUM The Jewish War Museums design is so powerful that it can be considered as an artifact in its own right. Even as it was unveiled in 1999 with nothing in it, the building was said to evoke a sense of loss and dislocation inflicted on Europes Jewish population the Holocaust in World War II (Barreneche, 2006, p.121). Through the buildings brief and urban site, Libeskinds Jewish Museum echoes the history of Berlin creating an emotional effect on the visitor. GLOBALISATION Cultural identity is something people have, and a form of traditional inheritance that is shared, something that needs to be protected and preserved. In contemporary society, globalisation has been portrayed sweeping through diverse cultures, and bringing a homogenized cultural experience (Tomlinson, 2003, p. 270). However, one can argue that globalisation, instead of destroying, has become a force in creating and developing cultural identity, allowing the idea of identity to change into a more collective entity. In terms of how this relates to the Jewish Museum, the building is not just seen as a response to some traditions, it is also open to new ones, a link to the past and the future (see 2.1). The mission of the Jewish Museum, and for all new museums, is not just for the city themselves but for the wider public, in which it becomes a communal existence. Around the globe, in every corner, new museums have appeared, coming in every shape and size, appealing to various preferences (Barreneche, 2005, p. 6). As Victoria Newhouse notes (see Barreneche, 2005, p.6), â€Å"One intriguing aspect of the current proliferation of museums is the ‘museumfication of seemingly every phenomenon†. The Jewish Museum is an example of this, and one could assume that through the guidance of globalisation, there are Jewish Museums in cities from New York to Sydney stemming from Libeskinds prominent Berlin museum. (Barreneche, 2005, p. 6). NATIONAL AND CIVIC IDENTITY Culture is cumulative and changing by additions of successive generations, reinterpreted from one individual or group to another. The designed environments of contemporary museums create a setting and representation of particular cultural identities. Daniel Libeskinds Jewish War Museum in Berlin encompasses these attributes, it is a building that engrains Jewish history. The design is based on a process of connecting lines between the locations of historic events and the locations of Jewish culture in Berlin. This is evident from the buildings plan with the zigzag footprint, symbolically derived from a fragmented Star of David (Barreneche, 2006, p.121). (see 2.2) The architect has created metaphors for the absence of Jewish communities in Berlin where the lines slices the plan (Barreneche, 2005, p. 121). The concepts of absence, emptiness and the invisible express the disappearance of Jewish culture in the city. Libeskind proves there is a powerful faith in the ability of people to l earn Relationship Between Museum and Cultural Identity Relationship Between Museum and Cultural Identity THE MUSEUM AND THE CITY: AN EMBODIMENT OF CULTURAL IDENTITY OF THE CITY IN WHICH IT STANDS INTRODUCTION As society enters a new century, many cultures have recond to an age of globalisation and, in turn, are embracing the idea of contemporary living. This results in the development of cutting-edge technology, new methods of communication, and the rapid growth of cities, causing indigenous culture of cities to increasingly blend. The desire to embrace this dynamic compels many architects to consider ways of creating architecture truly representative of a wide range of humanity. These new advances create city growth, impacting on urban form and the design process of the public institutions, including museums, which is what this dissertation will primarily explore. The result is to extend the range of materials, forms, cultural references and social thinking available to museum architecture. But does this create an uninspired sameness, where some identities are being ignored and/or distorted? Where the notion of cultures integrating really means the identity struggle between the dominants and the dominated? One could speculate that now, more rapidly than before, the architecture of the museum and the city simultaneously evolve to meet the cultural identity of the people. But are these buildings, in fact representative of the national identity of a city or the individuality of the architect? This dissertation investigates the architects role in designing museums, establishing to what extent the design reflects or stems from the cultural identity of the city. The relationship between the museum and the city in which to belongs is complex. In order to establish an understanding, the study consults a wide range of resources that address issues of cultural identity within a museums national and civic perspective. Additionally, the research made reference to economic and political issues regarding museums, the study of how globalisation is reflected within a cultural and affects architecture, and case studies to support the statement that architects may intend for their museum designs to be representations of a cultural identity within the city. There are now new ways of experiencing, interpreting and remembering. The contemporary architecture of museums are a strong medium of cultural memory, developing from the museums traditional forms as monuments symbolising the power of key individuals within a society, into an expressive entity that creates dialogue between its contents and urban context. The otherwise conventional manner of designing develops into a world of contradictions, assorted rhythms and new ideas of beauty in the design of museums. The physicality of the building represents that of theatrical effects, incorporating contemporary elements of architectural form as a method of entertainment, whilst engaging the interest of the citys individuals and of those from further afield. Millions are drawn to what is no longer a dying institution, but a visual destination for the public, in a form that encompasses the societys identity. One can assume this is influenced by the cultural pluralism within the buildings city c ontext, and considering the many identities as a plural identity. The diverse elements are woven into a sustainable, integrated spatial fabric that contributes to the life of the city. An approach which allows architectural freedom for a building type that has been described by some sources as overlooked by the public. Due to this studys word restriction, it is not possible to evaluate in detail more than four relevant case studies. This limitation resulted in the careful consideration of case studies varying in terms of locality and architect. Furthermore, due to time restrictions, it was not possible to carry out additional primary research which could have entailed supplementary site visits to the investigated case studies and additional data found in initial research methods such as interviews and questionnaires. The dissertations methodology consists of individually exploring and studying four case studies against the dissertations argument, in order to then properly conclude whether it can be proven to be accurate. These case studies pose as cultural barometers, where during investigation they help assess the extent in which they fulfill a citys cultural identity. The examination method entails drawing on a combination of primary research such as site visits to secondary research, drawing on existing written information from books, articles and online sources. The case studies follow a chronological order, beginning with Chapter One: Frank Gehrys Bilbao Guggenheim, a museum which initiated an influence on the case studies that have followed such as Chapter Two: Daniel Libeskinds Jewish War Museum, Chapter 3: Herzog and de Meurons Tate Modern London and Chapter 4: Zaha Hadids Contemporary Arts Centre. To further develop whether an architects design of contemporary museums truly reflect the citys cultural identity, each case study is analysed in th light of the following issues: Globalisation outlines whether certain cultural identities are lost or just changing within the museums civic context, especially as cities more than nations contend to draw global attention through these culturally significant public buildings. The sub-chapter concerning National and Civic Identity explores how culture influences in terms of the architectural context of the museum in a national and civic perspective. This provides a framework for exploring how architects use ideas about culture and cultural contradictions to create the structures and spaces to engage a society. The issue will discover how the design of the museum is a task of seeking an image essentially of ourselves. Style and Identity of the Architect briefly examines how the architects own identity, who themselves are either travelers or immigrants, insiders/outsiders of the city in which they design for, influences the ultimate design of the citys museum along with their own architectural style. Economy and Poli tics is a sub-chapter concerning who pays, owns and benefits from the establishment of these institutions. How cities acquire signature museums in order to stimulate their economic and ultimately cultural development. The museum building boom has been accelerated by what has become known as The Bilbao Guggenheim Effect . The sub-chapter investigates how Frank Gehrys museum has influenced these case studies to replicate their own â€Å"Bilbao Guggenheim Effect† within their cities. By putting up a museum with architectural credentials, Gehry revitalised a civic and cultural image, demonstrating that a single building could energise and enhance an entire city and region. DISCUSSION THE CONTEXT OF THE MUSEUM: INVENTION AND REINVENTION Layer upon layer, past times preserve themselves in the city until life itself finally threatened with suffocation: then, in sheer defense, modern man invents the museum. [Lewis Mumford, The Culture of Cities] These words from Lewis Mumfords The Culture of Cities depicts how the museum was manifested as a commodification of a citys overpowering history (Giebelhausen, 2003 p. 1). The design development of this building type has been changing since the museum was established in the 18th century, beginning as a space for private collections of wealthy individuals, only accessible by the middle and upper class (Giebelhausen, 2003 p. 4). Presently, the museum is a response to contemporary social change, a space that wishes to connect within its urban fabric surroundings and open to all. A museums design acknowledges the way in which it can order, store and display its belongings, the institutions relationship to a city and surrounding cultures lacks investigation, leaving questions about the museums role in an urban context (Giebelhausen, 2003 p. 2). Culture surpasses the ways in which something can be represented and housed, it can be seen as an expression of us. Today, culture is challenged i n a world struggling for established institutions such as schools, libraries etc., which often are said to lack in relation to the people (Zukin, 1995, p. 11). Museums are no longer seen as fixed frameworks, but a place for public interaction and exchange. One could consider that one of the buildings functions is to absorb the cultures within the city, and then reflect and shape this within an architectural form. The museum itself visually exemplifies its roles within a city, for instance unlocking urban memories, reconfiguring the past, aiding in touristic rediscovery and exploitation of a place to the whole urban environment, roles that challenge the museums attempt to reconnect culture and a citys built form (Giebelhausen, 2003 p. 2). There is an ability to recon a city with the use of museums, from â€Å"systematically inserting them, to salvaging or reconstructing them† into the urban fabric (Giebelhausen, 2003 p. 2). Therefore the museums cultural significance surpasses that of any other building types. In The Museum Transformed, by Douglas Davis (1990, p.14) asserts that, â€Å"no building type can match the museum for symbolic or architectural importance† because it is so often redefined due to its stimulation from cultural development. The museum can be considered as an entity that defines, represents and creates cultural trends ahead of its own place in time. As quoted from MacLeod (2005, p.1), â€Å"As museums have come to be consciously recognized as drivers for social and economic regeneration, the architecture of the museum has developed from its traditional forms into often-spectacular one off statements and architectural visions.† Architects persuasively argue for a new type of ex perience, aiming to appeal to a general audience rather than the scholarly advisors soughing to replicate tradition (Giebelhausen, 2003 p. 3). This is an aspiration expressed from an analysis of contemporary society and its future direction, that being cultural diversity, resulting in the commissioning of strongly conceptualised museums to devote to multiplicity. As Relph (1976, p. 33) claims, †¦for each setting and for each person there are a multiplicity of place identities reflecting different experiences and attitudes; these are molded out of the common elements of appearance†¦through the changing interactions of direct observation with preconceptions. In the past however, the significance of museums were solely to serve a refined function, transcending the thinking of the scholars and academics, along with manifesting the power of a city (Giebelhausen, 2003 p. 4). Relph (1976, p. 35) provides evidence to this claim in mentioning, Public places which achieve their publicity through high imageability are not necessary innocent- their distinctive appearance or form maybe capitalised upon or even created as a statement of grandeur and authority to be regarded in awe by common people. The museum was considered a monument, take examples such as The Louvre in Paris, or the Uffizi in Florence, they are models of the grandeur museums encompassed (Merkel, 2002, p. 66), significant in urban context, deliberately chosen to emphasise a citys status, and drawing attention within a public space. Traditionally understood as temples of knowledge, the architecture itself could be said to represent the value of knowledge. This belief was prominent in the early period of museum founding where the scale of buildings also symbolised power, so much so that the museum evoked the metaphor of a cathedral. Historian Jayne Merkel (2002, p. 66) writes, Not surprisingly, palace architecture-grand, classical, urban, and horizontal-was a principal influence when the first museums were designed. But like most public buildings at the time, they were built in the classical style for other reasons as well, including classicisms associations with government, law (Roman basilicas), with the sacred (Greek temples and Italian Renaissance churches) and with the culture and art of the past. Today, the museum could be considered as a building type that satisfies a citys need for symbolic signification, and an indicator of metropolitan aspirations such as world-wide recognition. A desire to entertain and educate society, along with a â€Å"sensitivity that refuses to bore, alienate or pander to the public† (Zieger, 2005, p. 17). If this is the case, then the status of a great city can entail in encompassing several of these institutions, thus the spread of museums witnessed during the nineteenth and twentieth century indicating the start of city rivalry. At the start of the twenty-first century, the museum as architecture has been reinstated as an evocative entity, as opposed to decades devoted to neutral, voided spaces lacking symbolic significance and strict functionality termed as â€Å"white box† (Lampugnani Sachs, 1999, p. 15). Museums began to create dialogue with their content and urban context. They can be seen as similar in some ways to churches, to shopping centres and other places of gathering, but they have a function different from these examples, they contain things of enquiry. The museum has made a considerable contribution to a city, adding historic and cultural significance along with contributing to a citys metropolitan status, presumably due to the transformative possibilities of museums (Giebelhausen, 2003 p. 9). The city and its museum are in conjunction to one another, one could believe the museum is a citys method of revealing cultural meaning through its architectural forms. This belief is an advanceme nt from the words of the theorist Filippo Tommaso Marinetti, ridiculing museums as cemeteries, stating that they were â€Å"truly identical in their sinister juxtaposition of bodies that do not know each other,† along with a judgement that cultural institutions were dilapidating. (see Zieger, 2005, p. 7) A society today uses the museum to represent a new dynamic form of culture, reflected through an innovative physical form that is often considered a visual spectacle of the city, that one could believe draws visitors to it in theatre like fashion. Consequently it can be theorised that they are quickly becoming radical buildings constructed in a world driven by the need to address new concepts of diversity and equality (Zukin, 1995 p. 2). Rather than just â€Å"cultural cemeteries piling up gilt frame paintings† (Zeiger, 2005, p.11), they are spaces of social condensing- a space attempting to build a community rather than filling a city with volumes of emptiness. As Dan iel Libeskind was quoted in saying â€Å"†¦its not just some sort of container, some abstract piece if glass and concrete, it is part of a communicative system.† The design challenge in the multicultural growth of cities is to find an architectural expression that goes beyond the conventional, while something relevant to contemporary life. Contemporary museum design can be deemed as a physical entity of cultural trends developing within the city (Zukin, 1995 p. 2), either recognising which cultures are integrating or if the city epitomises a specific one. No matter what conclusions are drawn out from a citys cultural make-up museums are a place where people go to mix with others unlike themselves, by having a broad appeal they must aim to please a vast variety of people. Libeskind confirms this in his words, †¦(museum) architecture is what is common between people, and what a contribution it makes to the viability of a city, and to civic space. †¦we might as well make in inspiring environment, an environment that is more than just a shallow faà §ade of something inauthentic. (Cathcart, 2001) To avoid the idea of an undistinguished environment is by physically fitting in the cultural identity related to the city. The museum in a physical setting is a structural body of city understanding and city change. There can be no denying the importance of its architecture in the urban environment in terms of regeneration, tourism, symbolism and so on (Zukin, 1995, p.2). Society as a whole has been persuaded that museums are agents of social economic change. There has been an unprecedented period of radical reshaping, building, rebuilding in the design of these institutions that cannot be disassociated from the drive for cultural inclusiveness and diversity. A building with space that can be considered with endless possibilities for use when â€Å"escaping the straitjacket of conforming to a giving role and move into a sharing mode† (MacLeod, 2005, p.25). In other words, a diverse audience needs a diversity of spaces that reflect, provoke and thrill. CHAPTER ONE : FRANK GEHRYS BILBAO GUGGENHEIM CHAPTER TWO: DANIEL LIBESKINDS JEWISH WAR MUSEUM CHAPTER 3: HERZOG AND DE MEURONS TATE MODERN LONDON CHAPTER 4: ZAHA HADIDS CONTEMPORARY ARTS CENTRE CHAPTER ONE : FRANK GEHRYS BILBAO GUGGENHEIM Frank Gehrys Guggenheim museum is acknowledged worldwide as a magnet for tourism, but can it be truly considered an expression of the Basque peoples cultural identity? Or is it just an architects expressionist gesture in an industrial city? The New York Times depicts The Bilbao Guggenheim as part of an ambitious plan to revise the city as an international centre of culture. The museum is not just a neutral container where art is stored and presented, but a place where the institution itself is in relation with the public. GLOBALISATION It could be said that globalisation creates struggle between the dominant and the dominated cultures within a society and the search for a reconstructed identity of a society. (AlSayyad, 2009, p. 22) Within the Spanish Basque region, it is evident that their identity has been burdened with tension in their attempt to stress their own regional identities and singularities from the rest of Spain (Guasch and Zulaika, 2005, p. 74). However one can argue that in this case globalisation has become a force in strengthening and proliferating a cultural identity, allowing the idea of identity to change into a more universal commodity represented by the museum itself. But how do issues of globalisation affect the architecture itself, especially in terms of the Bilbao Guggenheim? The new advances of technology, communication and construction methods create interventions for local cultures and establish the identities of a place. Gehrys use of cutting-edge computer design technology enabled him to translate his forms into reality (Chulvi, 2007) (see 1.1). Architectural statements such as the Guggenheim Bilbao are often questioned at times in whether or not they have relation to the place and identity. There could be two sides to this argument, one side could be seeking to safeguard and extend already established indigenous architectural traditions, promoting historical continuity and the preservation of identity through traditional decorative forms. The other side which is in more relation to the Guggenheim Bilbao, considers globalisation as a force that seeks to encourage invention and distribution of new forms using new materials and technology in response to changing needs to have relation to the place and identity. Gehry has been quotes in saying, â€Å"Democracy is good for architecture. Pluralistic ideas are what we want presented in architecture, the lead to a visual chaos is part of our lives† (Guasch and Zulaika, 2005, p. 58). There is an opportunity for growth in unique architectural forms in all of its diversity and 2903687145_5cb25af9b6 inclusivity. NATIONAL AND CIVIC IDENTITY The Basque people have been able to preserve their distinct culture and language while flourishing in an environment of globalisation, post-modernity, and European integration (Castillo, 2008). Currently, integrating the two social collectives of nationalists and non-nationalists within the region is growing (Castillo, 2008). However how does a group of people who have never had a country to call their own continue to hold on to their own cultural identity? The Bilbao Guggenheim is a phenomenon of cultural development employing â€Å"the three successive phases posited by the theory of cultural epochs- a period of chaos, a period of adjustment, and a period of equilibrium in cultural change† (Guasch and Zulaika, 2005, p. 74). All around the world culture operates as an engine for new regional and urban development, one could say that no strategic growth of a city would take place without the role of culture (Zukin, 1995, p.11). In the case of the Basque region, it was sufferin g deterioration caught up in a decline in inspiration along with cultural institutions progressively being abandoned. Simultaneously, the Guggenheim Foundation was in need of a new concept of the museum, capable to withstand the achievement of Guggenheim in New York, yet gaining its own recognition abroad. Co-operation between two considerably different cultures occurred in recovering the identity of a small society (Guasch and Zulaika, 2005, p. 77). As Frank Gehry himself explains , the museum embodies two different cultures, the Basque culture and American, which is considered as a melting pot used to extend its arms to everybody (Farnsworth, 1997). The Bilbao Guggenheim is proof of culture being a key strategy in not only providing a physical renewal but a new injection of self-esteem within a city and an entire region. (see 1.2) Culture in the case of the development of this building, can be seen as something essential to humankind and above all to a society in regaining values and providing a sense of identity. Rather than ignoring the cultural context of the city entirely, the fabric is restored, connecting any form of cultural isolation with the new building. The curving forms of the building glide over the River Nervion, a main bridged entry to the Spanish city, shattering strict perpendicularity and ridged geometry regularly associated with museum architecture, providing a new model of collective identification (Guasch and Zulaika, 2005,p. 42). The rejection of these norms is emphasised by the titanium cladding, making the building appear as a single entity that intertwines the city around it. Like the Basque region the building is a place of â€Å"contested borders† (Guasch and Zulaika, 2005,p. 42). (see 1.3) Whether Gehrys building actually erases the citys cultural heritage is debatable. Bilbao is famous for its maritime history, after Barcelona, it has Spains largest port. The Bilbao Guggenheim pays tribute to its own surroundings as it edges onto the riverfront. Its exterior sculpted out of steel, which is traditionally the main industry of the city (Guasch and Zulaika, 2005, p. 154). The museums relationship with the city is conceived as the outcome of a perceived social need, as society changes and new social needs arise, new building forms will be produced in order to fulfill that need. The Bilbao Guggenhem facilitates a complete urban facelift, a driver for the citys urban regeneration, communicating not only its importance to the city as a powerful foci, but the citys mark in the cultural world. As a result, after Bilbao every city aspires to its own Guggenheim effect the â€Å"build it and they will come† (Barreneche, 2005, p.6) belief is what cities have taken on for their museums after untitled STYLE AND IDENTITY OF ARCHITECT Frank Gehry is widely recognised as a North American architect whose combination of steel, high-tech and flowing designs have broken the rigid hold of rectilinear design that has dominated most of Modern architecture (Zieger, 2005, p. 8). However the question remains: is it a good idea for the city to have an international museum built by a foreign architect? Gehry was quoted as spending a lot of time trying to understand the culture and trying to understand the Basque people. He explains, I related to them because I was raised in a Jewish upbringing in Toronto, Canada, so I was an outsider into the culture when I was a kid. And I understandI empathized with this outsider role, andbut I cant put my finger on a piece of the building and say this is Basque, but they seem to think I captured their spirit. I tried to use the materials of the region to build the building. The stone in Spanish. The steel structure is Spanish. All the work people were Basque. (Farnsworth, 1997) One can assume to Gehry a rich piece of architecture would combine elements in a way that preserve the coherence of their origins. At its best, the process of gathering cultural elements and marrying them to the sensitivities of a gifted architect can result in a powerful work of architecture such as the Bilbao Guggenheim. According to the Bilbao Revitalization Plan, the natural slope running down to the riverfront was to be transformed into a green valley, but Gehry did not want to lose the industrial feel of the existing waterfront. (see 1.4 1.5) People say that the design of the museums architecture was inspired during Gehry climb up the Mundana, one of the highest mountains in the outskirts of Bilbao. â€Å"Seen from the river, the building appears to take the shape of a boat paying homage to the port city that has given its home. The museums bright, shining panels resemble fish scales, reflecting the influence of natural forms and shapes.† (Chulvi, 2007) One could argue that the architects use of abstract, free-form components from local materials are reminiscent of Modernist Spanish sculptures, a cultural aspect valued by the Basque, or how the architects design of the enormous boat-shaped gallery is a dedication toward Bilbaos past as a centre of shipbuilding and trade (Guasch and Zulaika, 2005, p. 154). Many would argue that Gehrys design for the Bilbao Guggenheim truly reflects the identity of the Basque people even though the architect himself has no relation to region. However, there is a degree of sensitivity to the regions character that can be witnessed through the architecture. The city of Bilbao places an emphasis on the institution Gehry has designed, as having an important role in defining public culture. This has been achieved through the architects process of negotiating what architectural expressions could be accepted by the people. ECONOMY AND POLITICS Gehrys museum was hailed an as instant landmark, bringing a sense of relevance to architecture in the transformation of cities. (Guasch and Zulaika, 2005, p. 7) The Basque region was in need of local development due to its rustic city appearance and distinct regional identity compared to the rest of Spain. Primarily, the Basque region was in need of distancing itself from the negativity that it was associated with, such as being recognised as a terrorist region. Bilbao, the largest city in the Basque country, is a stronghold for the separatist group ETA (Basque Fatherland and Liberty), which seeks independence from Spain through often violent behavior (Farnsworth, 1997). For the Guggenheim Foundation this was an opportunity to fund a centerpiece of huge urban renewal for Bilbao. Previous museum concepts were of a private space for seekers of wisdom, philosophers and historians. Currently the museums directors are in favor of new futuristic architectural visions that were unimaginable years before, representing a museums city and forming the basis of urban regeneration such as Bilbao Guggenheim. The titanium shapes flourish through Bilbaos dark cornices and nearby smokestacks, as Andrew Friedman (see Zieger, 2005, p. 9) explains, †¦the nearby smokestacks and cranes; they seem†¦to be Gehrys whimsical idea of visually rendering the tumultuous and violent process by which a once-working industrial waterfront is brought to heel-an actual enactment of the grim process that the Guggenheim makes a point of capitalising on. The capitlisation Friedman mentions is the transformation of Bilbao from living city to an architectural destination. In other words the city acquires a signature building in order to stimulate a citys makeover (Zeiger, 2005, p.9). The design of the museum is recognised as a drive for social and economic regeneration, from traditional forms, to, in this case, a spectacular one off statement that challenges architectural preconceptions and creates a visual feast while maintaining the integrity of the site. Why have contemporary museums become a favorite tool of urban regeneration and redevelopment schemes since the Bilbao Guggenheim? Referred to as the â€Å"miracle,† (Guasch and Zulaika, 2005, p. 7) Frank Gehrys Bilbao Guggenheim changed the face of the Bilbao city, and set up to give a new purpose to an abandoned industrial estate. â€Å"Since the Guggenheim was built, Bilbao has never been the same again the museum has helped create pedestrianised areas that run from the t own hall to the port on the shores of the river.† (Chulvi, 2007) The answer is that museums allow an opportunity for growth in unique architectural forms in all of its diversity and inclusivity. CHAPTER ONE : FRANK GEHRYS BILBAO GUGGENHEIM CHAPTER TWO: DANIEL LIBESKINDS JEWISH WAR MUSEUM CHAPTER 3: HERZOG AND DE MEURONS TATE MODERN CHAPTER 4: ZAHA HADIDS CONTEMPORARY ARTS CENTRE CHAPTER TWO: DANIEL LIBESKINDS JEWISH WAR MUSEUM The Jewish War Museums design is so powerful that it can be considered as an artifact in its own right. Even as it was unveiled in 1999 with nothing in it, the building was said to evoke a sense of loss and dislocation inflicted on Europes Jewish population the Holocaust in World War II (Barreneche, 2006, p.121). Through the buildings brief and urban site, Libeskinds Jewish Museum echoes the history of Berlin creating an emotional effect on the visitor. GLOBALISATION Cultural identity is something people have, and a form of traditional inheritance that is shared, something that needs to be protected and preserved. In contemporary society, globalisation has been portrayed sweeping through diverse cultures, and bringing a homogenized cultural experience (Tomlinson, 2003, p. 270). However, one can argue that globalisation, instead of destroying, has become a force in creating and developing cultural identity, allowing the idea of identity to change into a more collective entity. In terms of how this relates to the Jewish Museum, the building is not just seen as a response to some traditions, it is also open to new ones, a link to the past and the future (see 2.1). The mission of the Jewish Museum, and for all new museums, is not just for the city themselves but for the wider public, in which it becomes a communal existence. Around the globe, in every corner, new museums have appeared, coming in every shape and size, appealing to various preferences (Barreneche, 2005, p. 6). As Victoria Newhouse notes (see Barreneche, 2005, p.6), â€Å"One intriguing aspect of the current proliferation of museums is the ‘museumfication of seemingly every phenomenon†. The Jewish Museum is an example of this, and one could assume that through the guidance of globalisation, there are Jewish Museums in cities from New York to Sydney stemming from Libeskinds prominent Berlin museum. (Barreneche, 2005, p. 6). NATIONAL AND CIVIC IDENTITY Culture is cumulative and changing by additions of successive generations, reinterpreted from one individual or group to another. The designed environments of contemporary museums create a setting and representation of particular cultural identities. Daniel Libeskinds Jewish War Museum in Berlin encompasses these attributes, it is a building that engrains Jewish history. The design is based on a process of connecting lines between the locations of historic events and the locations of Jewish culture in Berlin. This is evident from the buildings plan with the zigzag footprint, symbolically derived from a fragmented Star of David (Barreneche, 2006, p.121). (see 2.2) The architect has created metaphors for the absence of Jewish communities in Berlin where the lines slices the plan (Barreneche, 2005, p. 121). The concepts of absence, emptiness and the invisible express the disappearance of Jewish culture in the city. Libeskind proves there is a powerful faith in the ability of people to l earn

Canadian GDP :: essays research papers

The output or GDP of Canada has increased from 1995 to 1999. This means that more people became employed or productivity has risen. With the GDP on the rise, Canada is able to buy more because people will have more money from work. This would appreciate the dollar because Canadians need the U.S. dollar to purchase our goods. Demand, on the other hand, has somewhat stayed the same. There were periods when it was up and periods when it was down. When the demand for passenger cars was falling, Canadians were looking elsewhere to buy their cars. This factor would, most likely appreciate the dollar because, one again, the Canadians would need the U.S. dollar to buy our cars. When the demand was up, the opposite situation would happen. The unemployment rate for Canada fell, possible because of increased advertisement. When the unemployment of a country is low, output and productivity are raising. I stated before, as output rises, imports will also rise. This is due to the increase of money in the country. The dollar will appreciate relative to the Canadian dollar. Canada’s inflation has risen 7% in the last five years. As the price of Canada’s goods increase, the U.S. is looking elsewhere to buy its products. The supply of the U.S. dollar would decrease in Canada and the U.S. dollar would appreciate. In order to get an exact reading of the actions taken by Canada, we must look at their inflation compared to the U.S. I looked at http://www.stls.frb.org/fred/data/cpi/cpiaucsl, and I found that the U.S. had an 11% inflation rate. This means that product price of the U.S. has risen faster to that of Canada. This means that Canada was possible taking there business elsewhere, causing the dollar to depreciate. The interest rates of Canada are clearly on the downfall. Less people are putting their money into the investing sector. When the interest decreases, it is likely that Canada is putting their money into the U.S. This would appreciate the dollar because Canada would need the U.S. currency to invest in our country. Canada is running a constant trade surplus. We must also look at the current account balance of Canada. It decreased drastically from 1996 to 1997. This, most likely, means their imports were greater than their exports. You would be able to see this on their goods and service balance. I would assume that they do have a merchandise trade deficit because Canada is getting money from investing income.

Digital Advertising vs Print Advertising

Advertising is the action of calling something to the attention of the public especially by paid announcements. This has been accomplished using a variety of mediums that have evolved through the use of new technologies. Approaches to advertising include television, radio, online, product placement, billboards, newspapers, and magazines. Digital advertising has become a more accessible and effective form of advertising than press advertising in our growing society. Digital advertising promotes ads through technologically advanced means, such as the internet, television, and telecommunications. It is not to be confused with digital signage, which is a form of electronic display like LCD, LED, and plasma screens. The internet now offers ways to reach an unlimited number of consumers and innovative ways to narrow this selection. A customer can be chosen based on the sites that they surf. An ad for designer perfumes is likely to appear on a website for someone shopping on an online department store. Press advertising uses spreads in newspapers, spaces in magazines, and flyers. Slower societies without electricity rely on newspapers which is responsible for its success in the past. Therefore, there is no way to be selective in the people you are trying to cater to. Newspaper stands and subscription magazines gain loyal customers allowing press advertising to be an ideal form of communication for small businesses. Globally known products that are commonly purchased in a local area are often advertised using print advertisements. Advertising is a single component of the marketing process. It's the part that involves getting the word out concerning your business, product, or the services you are offering. It is not to be confused with the whole of marketing. Marketing consists of advertising, market research, media planning, public relations, product pricing, distribution, customer support, sales strategy, and community involvement. Moreover, advertising is a multibillion dollar industry that businesses use to promote the image of their company, which in turn sparks interest and increases sales. Although, advertising is not limited to a profitable business, it is also used by individuals, organizations, and political candidates. Persuading someone to share a common idea, to utilize services, or to buy something is the main goal of advertising. This has been since 79 A. D. when Romans in Pompeii made billboards to exhibit their testimony on the state of society. A more commonly known advertisement in history is that of Volkswagen, â€Å"Think Small†. The simplicity and use of white space in the campaign gained great response from the German people. Thomas Jefferson was one of the first persons to acknowledge the power of white space around headlines to catch ones attention. This aspect has been modified and has led to the use of bright colors, flashing lights, and shocking phrases. In the present day there are ads like Nike’s â€Å"Just do it,† and â€Å"Got Milk. These very campaigns have developed over the last twenty years. Changing from ads on the back of milk cartons to magazine spreads to television commercials, they have grown in their versatility. In a sense, they have grown with their generations and the technological advances that came with them. The invention of the television, telephone, and internet extremely changed the advertising industry. In the United States, the first television commercial recorded is that of Bulova Watch Company. They aired an ad on New York’s News Channel, WNBT before a baseball game between the Brooklyn Dodgers and Philadelphia Phillies. The ad featured the slogan â€Å"America runs on Bulova time. † Commercials frequently use slogans, jingles, humor, and animations to promote and idea or product. The use of these aspects allow for it to grasp the audience’s attention, be remembered, and depicted in ways that through the mere use of actors could not be accomplished. They range in length from a few seconds to a couple minutes. The telephone was an invention that many also took advantage of to advertise. This is more commonly known as telemarketing. It is a salesperson directly soliciting to customers over the telephone. This form of advertising leaves more up to words instead of a created image. DialAmerica Marketing Inc. was first company committed to telemarketing for sales and services. Telemarketing techniques are increasingly used in political campaigns. Because of free-speech issues, the laws governing political phone calls are much less strict than those applying to commercials. Many people find these calls to be annoying; subsequently, some states have banned political calls and initiated â€Å"Do Not Call List†. The internet has a caused a massive influx in the change of advertising form. Online advertising is disguised in well-known search engines like Google and Yahoo that are used on a daily basis. Rishad Tobaccowala, the â€Å"chief innovation officer† of Publicis, one of the world’s biggest advertising groups, says that advertising in this form allows advertisers to â€Å"make lots of spearheads and then get people to impale themselves. † The advertisements that show up are in some context related to what is entered in the search bar. The first online advertisement was the ad banner created by HotWired for AT;T on October 25 1994. The thing that these forms of advertising have is that they employ direct-response marketing. This allocates customers to contact advertisers directly and immediately. Direct-response advertising consist of four primary elements, an offer, sufficient information, an explicit â€Å"call to action,† and multiple means of response, like toll free number, web link, or e-mail. Technological innovations have depleted the once thriving ways to communicate products, and promote people and ideas. The technology formerly used is the printing press. The rapidity of typographical text production, as well as the sharp fall in unit costs, led to the issuing of the first newspapers. In 1704, the first newspaper advertisement, an announcement seeking a buyer for an Oyster Bay, Long Island, estate, was published in the Boston News-Letter. In 1810, Frederick Koenig invented the improved printing press. William Carlton of J. Walter Thompson advertising company was the first to begin selling advertisement space in newspapers in 1864. Newspapers began using digital production processes and using computers in 1967. Newspaper advertising has gone a long way over a longer period of time, opposed to online advertising which was almost overnight. In society today, the use of billboards, classified ads, coupon mailers, fliers, and radio are known as small-budget advertising. All of these except radio are forms of print advertising. Whether driving by a billboard, listening to the radio or flipping through the TV channels, every advertisement has dot. com present. A comprehensive advertising campaign is the only way to make a web site successful. The evolution of the Internet has business taking a new direction. Print newsletters require time and effort, while E-newsletters are the easiest, quickest and cheapest newsletters to produce. Each issue is produced electronically and can be sent to all subscribers through Email. Digital and print advertising are in competition, and so far digital is in the lead. According to Voice of America News, advertisers in the United States are spending more on ads on the internet than in newspapers. The internet passed newspapers in 2010 U. S. ad revenue, making the internet the second-largest ad medium behind TV, according to Interpublic Group of Cos. ‘ MagnaGlobal. One newspaper after another is going out of business across the United States, and the ad revenues of traditional print media, even of highly respected magazines, is declining. Pushing a message at a potential customer when it has not been requested and when the consumer is in the midst of something else on the net, will allow it to fail as a major revenue source for most internet sites. Better targeting of ads using individual interests and individual behaviors ensure that people are not bored or annoyed with each ad. As for paid search, it is closer to other mechanisms that allow a website to sell access to potential customers. It works effectively as a revenue source for Google. Online advertising poses as a threat to traditional print advertising because it contains a wide range of people it could possibly reach, products can be purchased immediately, and a product can be described in detail through testimonies, pictures, and reviews. If an ad is placed in a newspaper or magazine, and someone likes it he or she will have to come to your store or office to know more. But if the same ad appears on a website the visitor can click it and come straight to the website and get the full information about the product or service. The immediacy of the feedback is very high in case of internet advertising. Page views can be kept track of and effectiveness can be determined. Consumers are receiving messages through numerous forms but research models aren't accounting for this, they are only giving conversion credit to one medium. Someone who received a flier follows a link and is targeted with digital display ads for that product or related products; the way they interact with the advertisement determines how advertisers reach them. Many believe that scams are most ubiquitous to the internet. This is true but only because so much private information is transferred and communicated over the internet. Such as passwords and credit card information. Computer hackers cause this fear of purchasing items online which consequently makes people go for the â€Å"x† on advertisements all the time. When consumers use the internet to view online news like on CNN, ABC, SKY and BBC News, it is not uncommon for phoney misleading advertisement promoting a scam product to come up. Don’t let the internet scare you, because scams are also subject to printed newspaper advertisements. Waiting in the classified section of the newspaper, con artist target job seekers on a personal level. Much of the unemployed are desperate and willing to give information to have the chance to apply for a job, and sometimes this is by mail-in or over the telephone. This could by far be the worst way to try and obtain an occupation, given addresses and phone numbers can all lead back to your location. Newspaper advertisements do have a higher credibility than online advertisements, but it is easier to distinguish an online scam. The threat present in society today is that of Tivo and DVR, which record programs and also allow you to fast forward through commercials. This will allow for a discrepancy in the advertising industry for television. Maneuvers have been taken to prevent this, for example product placement and DRM’s. DRM’s are encryptions that don’t allow certain actions at certain points like on DVD’s when the FBI warning appears. New regulations could possibly be able to forbid the playback of television shows without commercials. Only new technology and time will tell. Watching shows and movies online impede on the viewing of commercials. This benefits online advertisers who pay for spaces on these web pages. That is why digital advertising is flexible, if it can’t reach you one way, it will try another. Print advertising has accomplished this also by the posting of billboards on buses, etc. This is less proficient though because advertisements cannot be updated as frequently and cost-efficiently. In the future, ads themselves will be engineered to obtain information on its audience, with the mined data immediately fueling message customization. Improvement by using new technologies will enhance the visibility, portability and impact of messages Holosonic, a US technology company, is taking the idea advertising technology to the edge. It has developed the Audio Spotlight, a system that fires a beam of sound onto a small area from a distance of more than 60ft. The company claims, the effect is to â€Å"startle and entertain† pedestrians without being audible to anyone outside the zone. Ad campaigns must become favorable interruptions which anticipate consumer needs by being exceedingly relevant. Digital advertising wholly completes this task and through the application of better developing technology will work to break any barriers or misconceptions. Print advertising is unlike digital because it uses press promote a product, organization or idea. Print advertising has reached far more impediments than the use of television, telecommunications, and the internet. Although useful in its unique, economic way, print advertising is slowing in production, not only because of new technology, but because of a change in the audience’s daily lives. Works Cited http://42explore.com/advertis.htm http://ezinearticles.com/?Print-Advertising-Vs-Online-Advertising—Whats-Better?&id=2385320 http://www.economist.com/node/7138905 http://www.huffingtonpost.com/brett-king/digital-versus-traditiona_b_563732.html http://inventors.about.com/od/pstartinventions/a/printing_4.htm

How to Register to Vote in U.S. Elections

How to Register to Vote in U.S. Elections Registering to vote is required in order to cast ballots in elections in all states except North Dakota. Under Articles I and II of the U.S.  Constitution, the manner in which federal and state elections are conducted are determined by the states. Since each state sets its own election procedures and regulations – such as voter identification laws – it is important to contact your state or local elections office to learn your state’s specific election rules. How to Vote With the exception of state-specific rules, the basic steps to voting are the same almost everywhere.Voter registration is required in every state except North Dakota.Every state allows absentee voting.Most states assign voters to vote at specific polling places or voting locations.The U.S. Election Assistance Commission lists federal election dates and deadlines by state. Who Cannot Vote? The right to vote is not universal. Some people, depending on their circumstances and state laws, will not be allowed to vote. Non-citizens, including permanent legal residents (green card holders), are not allowed to vote in any state.Some people who have been convicted of felonies cannot vote. These rules may vary by state.In some states, persons who have been legally declared mentally incapacitated cannot vote. What is Voter Registration? Voter registration is the process used by the government to ensure that everyone who votes in an election is legally eligible to do so, votes in the correct location and only votes once. Registering to vote requires that you give your correct name, current address and other information to the government office that runs elections where you live. It might be a county or state or city office. Why is Registering to Vote Important? When you register to vote, the elections office will look at your address and determine which voting district you will vote in. Voting in the right place is important because who you get to vote for depends on where you live. For example, if you live on one street, you may have one set of candidates for city council; if you live the next block over, you may be in a different council ward and be voting for completely different people. Usually, the people in a voting district (or precinct) all go to vote in the same location. Most voting districts are fairly small, though in rural areas a district can stretch for miles. Whenever you move, you should register or re-register to vote in order to make sure you always vote in the right place. Who Can Register to Vote? To register in any state, you need to be a U.S. citizen, 18 or older by the next election, and a resident of the state. Most, but not all, states have two other rules as well: 1) you cant be a felon (someone who has committed a serious crime), and 2) you cant be mentally incompetent. In a few places, you can vote in local elections even if you are not a U.S. citizen. To check the rules for your state, call your state or local elections office. College Students: College students who live away from their parents or hometown can usually register legally in either place. Where Can You Register to Vote? Since elections are run by states, cities, and counties, the rules on registering to vote are not the same everywhere. But there are some rules that apply everywhere: for example, under the Motor Voter law, motor vehicle offices across the United States must offer voter registration application forms. Other places required the National Voter Registration Act to offer voter registration forms and assistance include: state or local government offices such as public libraries, public schools, offices of city and county clerks (including marriage license bureaus), fishing and hunting license bureaus, government revenue (tax) offices, unemployment compensation offices, and government offices that provide services to persons with disabilities. You can also register to vote by mail. You can call your local elections office, and ask them to send you a voter registration application in the mail. Just fill it out and send it back. Election offices are usually listed in the phone book in the government pages section. It may be listed under elections, the board of elections, supervisor of elections, or city, county or township clerk, registrar or auditor. Especially when elections are coming up, the political parties set up voter registration stations at public places like a shopping mall and college campuses. They may try to get you to register as a member of their political party, but you dont have to do so in order to register. NOTE: Filling out the voter registration form does not mean that you are actually registered to vote. Sometimes application forms get lost, or people dont fill them out correctly, or other mistakes happen. If in a few weeks you have not received a card from the elections office telling you that you are registered, give them a call. If theres a problem, ask them to send you a new registration form, fill it out carefully and mail it back. The Voter Registration card you receive will probably tell you exactly where you should go to vote. Keep your Voter Registration card in a safe place, its important. What Information Will You Have to Provide? While voter registration application forms will vary depending on your state, county or city, they will always ask for your name, address, date of birth and status of U.S. citizenship. You also have to give your drivers license number, if you have one, or the last four digits of your Social Security number. If you dont have either a drivers license or a Social Security number, the state will assign you a voter identification number. These numbers are to help the state keep track of voters. Check the form carefully, including the back, to see the rules for the place where you live. Party Affiliation: Most registration forms will ask you for a choice of political party affiliation. If you wish to do so, you can register as a member of any political party, including Republican, Democrat or any third party, like Green, Libertarian or Reform. You can also choose to register as independent or no party. Be aware that in some states, if you dont select a party affiliation when you register, you will not be allowed to vote in that partys primary elections. Even if you do not select a political party and do not vote in any party primary elections, you will be allowed to vote in the general election for any candidate. When Should You Register? In most states, you need to register at least 30 days before Election Day. In Connecticut, you can register up until 14 days before an election, in Alabama 10 days. Federal law says that you cant be required to register more than 30 days before the election. Details on registration deadlines in each state can be found on the U.S. Election Assistance Commission Web site. Six states have same-day registration - Idaho, Maine, Minnesota, New Hampshire, Wisconsin and Wyoming. You can go to the polling place, register and vote at the same time. You should bring some identification and proof of where you live. In North Dakota, you can vote without registering. Parts of this article are excerpted from the public domain document I Registered, Did You? distributed by the League of Women Voters.

buy custom The Bermuda Triangle essay

buy custom The Bermuda Triangle essay The storm was getting more violent as I steered my ship in the southern Atlantic Ocean. I cant tell how frightened my team was when we figured out that top scientists of the world, decided to hold a conference about the mystery of the Bermuda triangle in my vessel. They should have stayed away from the ocean at first instead of undertaking a gamble and confirming their fears in the deep waters. I had exact instructions to approach the location but to stop within a kilometer from the exact location. I decided to relax in my cuddy and think of a possible explanation to the Bermuda triangle phenomenon, based on my rich experience in sailing. Then it happened! I have heard rumors of the constant shift of the Devils triangle, as it is popularly known. The name explains the fatal and mysterious disappearance of objects near the surface of the ocean or in the sky above the Bermuda Triangle. No one in the world could explain the details of the mystery, because everyone who had ever encountered the legendary spot disappeared forever. An eerie gust of the wind filled the air. I saw the light, and there it was! A large whirlpool five meters from my ship seemed to pull us closer. Everyone screamed and some strange power sucked us out of the ship one by one. Initially I thought I was dreaming, but a sharp pain down my back shook me back to the reality. I was thrown up into the skies and than I was hurled back down into the water right into the black hole. I landed in a city full of youth, different planes and sea vessels. Welcome to the city of suspense. Dreams, wishes and hopes of all living creatures above us, begin here and develop as perceived later by human beings. All the mysteries of the world are created in peoples minds. We get to people through rain or sunshine. There are very few good minds for this work and they are carefully chosen to come via that gate you have just passed through! announced a booming voice. Buy custom The Bermuda Triangle essay