Costo de visa H-1B y 6 problemas para patrocinar

Costo de visa H-1B y 6 problemas para patrocinar La visa H-1B es adecuada para muchos perfiles de trabajadores extranjeros profesionales. Sin embargo las empresas son reacias a patrocinarlas por el costo y otros problemas. En este articulo se explica por quà © muchas  compaà ±Ãƒ ­as americanas rechazan incluso la posibilidad de patrocinar una visa H-1B o lo hacen muy restrictivamente. Eso es asà ­ sin menoscabo de que otras, generalmente grandes, sà ­ que optan por patrocinar aà ±o tras aà ±o. Costo de las visas H-1B Las empresas deben pagar al Servicio de Inmigracià ³n y Ciudadanà ­a (USCIS, por sus siglas en inglà ©s) una cuota por completar el formulario I-129 conocido en inglà ©s como Petition of a Noimmigrant Worker como paso previo a la obtencià ³n de la visa H-1B.   Las empresas entre 1 y 25 empleados a tiempo completo deben pagar actualmente $1,575, que puede incrementarse en cualquier momento. Sin embargo si la compaà ±Ãƒ ­a tiene ms de 25 empleados el costo se eleva a $2,325.   Adems, si se desea acelerar el proceso de tramitacià ³n es necesario pagar una cuota premium para asegurar una respuesta en el plazo de 15 dà ­as. Esto tiene un costo adicional de $1,225. Son las empresas las que tienen que correr con esos gastos. Es ilegal que el trabajador extranjero se haga cargo de ellos. Adems, hay que sumar el costo de abogados. 6 problemas para las empresas asociados a la visa H-1B Adems del costo, hay ms razones por las que las empresas prefieren no patrocinar. Entre ellos destacan por su importancia los siguientes 6: 1. La incertidumbre es otro de los factores que ms pesa a los empleadores para no solicitar una visa H-1B para un trabajador extranjero. Y es que salvo en el caso de instituciones u organizaciones que se dedican a la educacià ³n o a la investigacià ³n y que estn excluidas del là ­mite anual de visas H-1B la mayorà ­a de las empresas se encuentran con el hecho de que patrocinar a un trabajador no quiere decir, ni mucho menos, que vaya a obtener la visa. La razà ³n es que cada aà ±o fiscal hay un nà ºmero mayor de solicitantes que de visas disponibles, con lo que en los à ºltimos aà ±os se ha tenido que decidir mediante loterà ­a quià ©nes obtienen la visa. Y las empresas que necesitan a un trabajador no pueden estar limitados por la suerte o mala suerte que implica una loterà ­a. Una vez que la visa est solicitada es posible verificar su estatus online. 2. El tiempo es otra razà ³n de peso. Y es que para anotarse para la visa el plazo comienza cada aà ±o el 1 de abril. Sin embargo, aunque se gane el sorteo de la loterà ­a, no se puede comenzar a trabajar con la visa H-1B antes del 1 de octubre, es decir, con el inicio del nuevo aà ±o fiscal. De esta regla sà ³lo estn exentos las empresas no sujetas al cupo anual mximo de visas y pueden solicitar trabajadores a lo largo de todo el aà ±o. 3. El salario del trabajador es caro. La empresa tiene que ofrecer al trabajador extranjero lo que se conoce como sueldo predominante o en inglà ©s  Prevailing Wage. Para conocer cul el es el sueldo predominante para una determinada profesià ³n segà ºn el lugar de trabajo, la empresa que desea patrocinar puede consultar con el NPWC, que es una oficina del gobierno. Otra opcià ³n es consultar la Biblioteca Online de Salarios que se conoce en inglà ©s por las siglas de OWL. El requisito del salario predominante en la prctica puede suponer que podrà ­a encontrar un trabajador estadounidense o residente permanente ms barato. En la actualidad hay rumores de que con el gobierno de Trump una de las reformas migratorias afectar a la H-1B y precisamente en este punto y se han filtrado borradores en el que se indican sueldos superiores a los $130 mil como requisitos para una H-1B, si bien a dà ­a de hoy esto son solo especulaciones. 4. La empresa patrocinadora de una visa H-1B est sujeta a auditorà ­as por parte del Departamento de Trabajo (DoL por sus siglas en inglà ©s) y del Departamento de Seguridad Interna (DHS, por sus siglas en inglà ©s).   Adems, est obligada a mantener ciertos rà ©cords pà ºblicos. En otras palabras, las empresas que patrocinan este tipo de visas atraen sobre sà ­ un escrutinio adicional que no tienen las compaà ±Ãƒ ­as no patrocinadoras. 5. Si por cualquier razà ³n la empresa da por terminado antes de tiempo el contrato del trabajador que se encuentra en Estados Unidos con una visa H-1B, es responsable de pagar el ticket de regreso a su paà ­s del ex empleado. 6. Finalmente, un gran inconveniente para las empresas es que patrocinando una visa H-1B no resuelven de modo definitivo su necesidad por un trabajador con un determinado perfil. Y es que estas visas tienen una duracià ³n de 3 aà ±os ampliables por otros 3. Llegado ese momento el trabajador sale de Estados Unidos o la empresa le patrocina una tarjeta de residencia permanente, tambià ©n conocida como green card. Pero el patrocinio lleva aparejado ms trmites legales, como la peticià ³n de un Labor Certification, ms gestiones migratorias y, consiguientemente, ms gastos. Conclusià ³n y opciones a la visa H-1B En la prctica las visas H-1B no son fciles de obtener, no solo por la loterà ­a que implica un grado de suerte sino tambià ©n porque muchas empresas son reacias a iniciar el proceso debido a todos los problemas e inconvenientes que conlleva.   En este punto destacar que los chilenos tienen una cuota de visas H-1B reservada para ellos y que eso es un punto a favor, porque no entran a la loterà ­a y se pueden pedir en cualquier momento del aà ±o, es decir, cuando la empresa tiene la necesidad. Finalmente destacar que en el caso de profesionalistas mexicanos, un buen nà ºmero de profesiones permiten solicitar la visa TN. Por otro lado, para los profesionales de cualquier paà ­s con cualidades excepcionales en la Educacià ³n, Ciencias, Cine o Televisià ³n, Empresas, Artes o Deportes la visa O puede ser una buena opcià ³n. Este es un artà ­culo informativo. No es asesorà ­a legal.

Philosophical Quotes on Lying

Philosophical Quotes on Lying Lying is a complex activity, one that we often blame, despite the fact that several times it may be the best ethical option left to us. While lying can be been seen as a threat to civil society, there seem to be several instances in which lying seems the most intuitively moral option. Besides, if a sufficiently broad definition of lying is adopted, it seems utterly impossible to escape lies, either because of instances of self-deception or because of the social construction of our persona. In the sequel, I compiled some favorite quotes on lying: if you have any additional ones to suggest, please do get in touch! Baltasar Gracin: Don’t lie, but don’t tell the whole truth. Cesare Pavese: The art of living is the art of knowing how to believe lies. The fearful thing about it is that not knowing what truth may be, we can still recognize lies. William Shakespeare, from The Merchant of Venice: The world is still deceivd with ornament,In law, what plea so tainted and corrupt,But, being seasond with a gracious voice,Obscures the show of evil? In religion,What damned error, but some sober browWill bless it and approve it with a text,Hiding the grossness with fair ornament? Criss Jami: Just because something isnt a lie does not mean that it isnt deceptive. A liar knows that he is a liar, but one who speaks mere portions of truth in order to deceive is a craftsman of destruction... Gregg Olsen, from Envy: If only these walls could talk†¦the world would know just how hard it is to tell the truth in a story in which everyone’s a liar. Dianne Sylvan, from Queen of Shadows: She was famous, and she was insane. Her voice soared out over the audience, holding them spellbound and enraptured, delivering their hopes and fears tangled in chords and rhythm. They called her an angel, her voice a gift. She was famous, and she was a liar.Plato: We can easily forgive a child who is afraid of the dark; the real tragedy of life is when men are afraid of the light. Ralph Moody: There are only two kinds of men in this world: Honest men and dishonest men. ...Any man who says the world owes him a living is dishonest. The same God that made you and me made this earth. And He planned it so that it would yield every single thing that the people on it need. But He was careful to plan it so that it would only yield up its wealth in exchange for the labor of man. Any man who tries to share in that wealth without contributing the work of his brain or his hands is dishonest. Sigmund Freud, from The Future of an Illusion: Where questions of religion are concerned, people are guilty of every possible sort of dishonesty and intellectual misdemeanor. Clarence Darrow, from The Story of My Life: Some false representations contravene the law; some do not. The law does not pretend to punish everything that is dishonest. That would seriously interfere with business, and, besides, could not be done. The line between honesty and dishonesty is a narrow, shifting one and usually lets those get by that are the most subtle and already have more than they can use. Further Online Sources The entry on the Definition of Lying and Deception at the Stanford Encyclopedia of Philosophy.The entry on the Liar Paradox at the Stanford Encyclopedia of Philosophy.The entry on the Liar Paradox at the Internet Encyclopedia of Philosophy.The entry on the Definition of Lying and Deception at the Stanford Encyclopedia of Philosophy.A New York Times op-ed by Graham Priest on the paradox.

International marketing( optional) Essay Example | Topics and Well Written Essays - 1250 words

International marketing( optional) - Essay Example An understanding of the nature of rivalry should begin from an assessment of the nature of products that the two companies deal with. Both companies manufacture highly developed smart phones, ipads, and other technology products with internet-aided applications (The Growth Agenda, 2012, p. 54). The inventory of these products consists of rapid innovations and advancements in technology in very short spans of time. Generally, the products range from simple to highly advanced technological gadgets that seek to satisfy different levels of the clientele. Over the times, both companies have attempted to break into new market segments or take over some of the segments held by their competitors. The course of these pursuits has involved suits of violation of patent rights to other matters that relate to the processes of regulation of the ethics of marketing and general commerce. As such, these companies have devised a range of strategies, which are meant to outpace each other in terms of te chnologies and marketing (Doole & Lowe, 2008, p.36). Samsung has sought to create pools of loyal clientele who cut across the various aspects of the market. The marketing strategies adopted are basically meant to show the other companies as weaker and less innovative in comparison to its own products. Some of the issues that affect the relationship between the two firms relates to the need to build a foil of the companies against which the technological strengths of Samsung might be manifest. On the other hand, Apple has sought to demonstrate the fact that it has a highly evolving technological framework that determines the manufacturing processes of the company. Generally, technological markets are some of the most fluid and unpredictable as compared to other markets. This is because of the fast-paced nature of innovations and technological factors create conditions that encourage competition between rivals in the same operational zone. Some of the issues that relate to the questio n of challenges are that it concerns issues of general commercial concern. The emerging patterns and trends of marketing has often related to the question of ethics versus and fair trading practices. There is an evident departure from ethics of marketing because the companies involved have significant control over significant market niches. The competition, rivalries, and conflicts that pit one company over another could be understood within the wider discourse of liberalization of the market economy. In the context of liberalization, some modern marketing practices often involve a determined from conventional and traditional ethics in ways that encourage the private of private interests at the expense of competitors (Hill & Jones, 2012). Malignant aspects of marketing have the potential of swaying the markets in favor of the direction of the companies involves. Such marketing practices often involve direct mention of certain elements that illustrate the weaknesses of the rival (Moo ij, 2009, p. 62). On this score, companies may deliberately choose to malign the weaknesses of their rivals with the overall objective of carrying out some form of a market coup on the competitor’s interests. Generally, marketing strategies are designed to affect the targeted clientele at the psychological level. Packaging of the psychological messages is usually

The role of inventory management in the logistics and operation of Fed Essay

The role of inventory management in the logistics and operation of Fed Ex Corporation Limited - Essay Example This report will seek to describe the process of inventory management undertaken at Fed Ex Corporation Limited (courier industry) and the role it plays in the overall logistics and functioning of the company in helping it pursue its objective: the fast and efficient delivery of parcels to their desired destination anywhere across the globe! Knowing the role of inventory management is important because it contributes to the overall functioning of the company and in turn, determines the efficiency of the entire process. In other words, it is very important for any firm to deal with its inventory carefully because this in turn complements and directly affects other related processes such as warehousing, transportation and all of this eventually determines the level of customer satisfaction. This customer satisfaction is essential in building and maintaining the goodwill of the company. Any little negligence or carelessness can lead to big failures and destroy very easily the goodwill that the company took years to build. Therefore, through this report, we aim to highlight the importance of inventory management and hence, the logistics operations in the overall functioning of any company, specifically explained here through Fed Ex corporation.

Written Assignment for Industrial Technology Essay Example for Free

Written Assignment for Industrial Technology Essay 1. The written assignment for Industrial Technology has continuously posed a level of difficulty for some students and teachers who are required to contend with the CSEC practical areas. In light of this challenge the following presentation has been created to give a better understanding of the procedure to follow. 2. In order to successfully complete written assignments candidates must firstly become aware of the requirements of this component. It is very important that each candidate is not only provided with these requirements (which include background and mark scheme) but also that teachers utilize a session or two to explain thoroughly the steps to be followed. Guides presented to candidates should include the following: 1. Background to written assignment 2. Mark scheme [Samples shown below] THE WRITTEN COMPONENT The written assignment will take the form of a report of about 1000 – 1200 words based on the common modules. These are: Safety Health Welfare Introduction to Computer Impact of Technology on Society Candidates are to demonstrate their full understanding of the concepts relating to these modules. They should produce a report that uses word-processing technology. Candidates may also use other software packages (Spreadsheets or databases) to do any analysis that may be necessary to enhance the presentation of the report. The report should be a critical analysis of a particular institution, business or theme that has relation or relevance to the Unit(s) or Subject(s) being studied. It is suggested that one of two approaches be used. 1. Industrial visits Preparation of a report on a visit to an industry or industrial site. 2. A report on a particular theme that is relevant to the Unit(s) or Subject(s) being studied, for example, – Transport – road, air, rail or water; – Communication; – Manufacturing; – Service industry. The report should include drawings, and photographs, wherever these are relevant, in addition to the written material. The report should address the areas listed below. – The jobs or careers involved in the particular institution or theme that relate to the Unit(s) or Subject(s) being studied. – The norms, regulations and codes of which employees in these areas must be aware and to which they must adhere, because of legal, financial, strategic or other considerations. – The impact of technology on the careers identified and the processes involved as they relate to the Unit(s) or Subject(s) being studied, for example, employment vs. unemployment, self-employment, security considerations, methods of processing and environmental considerations. – Ethical and moral considerations. A critical look at the environmental issues, employment practices and safety, health and welfare issues as they are addressed. 3. If the candidate is studying: (i) One Unit or Subject only, the report should address the areas listed in point 2 above which are relevant to that Unit only. (ii) Two or more Units or Subjects, the report should address the areas listed in point 2 above which are relevant to ALL the Units being studied. INDUSTRIAL TECHNOLOGY *Table outlining the breakdown of marks for students completing one, two or three units/subject. Interpreting guides and mark scheme It is important to note that unless the report is prepared according to the guides and mark scheme given, students will find it difficult to score points for this component. As such strict adherence to the instructions given through the documents above is critical to the successful completion of this piece. INTRODUCTION OF THE WRITTEN ASSIGNMENT The introduction of the written assignment consists of two areas, namely: 1. Topic outlined briefly and, 2. Methods/approach at data collection. Based on the breakdown of the mark scheme the introduction asks for two specific pieces of information and values 2 marks, one for each. It is therefore unnecessary for candidates to be lengthy in this section. Example 1. The manufacturing of ordinary Portland cement at Carib Cement Jamaica Limited. (1 mark) 2. The following approaches were taken in gathering the data: i. A guided tour of the plant ii. Video presentations iii. Use of questionnaires iv. Interviews conducted with personnel (1 mark) CONTENT As outlined in the mark scheme, candidates are required to identify the different careers at the industry that they have visited. In the case of the theme approach, candidates will naturally identify those careers associated with that area of specialization also including support staff that would aid in the successful running of such an establishment. All candidates are required to do here is to list the careers. Evidently only one mark is allotted for this section. Creative ways could also be employed if so desired by candidates to present this information. E.g. Organizational charts. The norms, regulations and codes to which employees must be aware and to which they must adhere because of legal, financial, strategic or other consideration. Again this other item values only one mark on the mark scheme, hence candidates are not expected to be lengthy. A good approach to take here is to break down the heading in order to sufficiently address each component. Example: Norms Norms speak to the customary operation of the plant and especially employees from the time of ‘check in’ to the time of ‘check out’. The operations here could be itemized with an indication of the time in which they are carried out. E.g.: 1) Employees check in at security post for processing 8:30 AM 2) Employees report to departments. - 9:00 AM Regulations Regulations speak to the set of rules to which employees must adhere. These rules must be linked to the daily operations carried out by employees. In presentation these regulations could be tabulated with possible photographs of signs mounted on the plant. NOTE: There are points allotted separately for pictures, tables and charts. Codes could also be addressed at this point. These can be described as a systematic set of laws which quite often govern both behavior and safety. Pictures of codes identified on site could also be used to enhance presentation. Impact of Technology on Careers The impact of technology is essentially seeking to identify the negatives and positives of the use of the equipment on the plant (especially if newly introduced) and the effect that these have on the existing careers. However, candidates are required to speak specifically to the impact as it relates to the following areas: 1) Employment vs. unemployment 2) Security or processing 3) Environmental If an actual tour of an industrial plant was conducted then the information needed in this section could be collected with the aid of interviews, questionnaires or observation of operations. If the report was completed from a theme then candidates would naturally identify possible effects that could arise as a result of the introduction of new technology. As it relates to employment vs. unemployment, candidates are required to say whether jobs have been lost or jobs have been gained as a result of the introduction of technology. In terms of security or processing, candidates will select one of these and identify technological features/devices that are used in these areas striking a comparison with manual methods which were previously employed. Industrial plants are popularly known to have a deleterious effect on the environment especially where the emission of waste is concern. The candidate at this point is to explain what technological feature if any is used to control these emissions and elaborate briefly on its effectiveness. How ethical and moral considerations are addressed This section speaks specifically to two areas, these are: 1) Legal polices on safety, health and welfare. 2) Moral approach in handling safety, health and welfare. A legal policy in this context can be defined as a prudent course of action employed by an organization. This prudent course of action seeks to outline how situations/developments are handled within the establishment. At point 1) above candidates are required to list the legal policies employed by the establishment/industrial plant which address safety, health and welfare. These policies may vary from organization to organization but in this case could include: 1) A safety and health policy. 2) Welfare policy developed through the human and resource department in the establishment. (Information below seeks to give further details on safety and health. Kindly peruse) Safety and Health policies Safe and healthy working conditions do not happen by chance. Employers need to have a written safety policy for their enterprise setting out the safety and health standards which should be their objective to achieve. The policy should name the senior executive who is responsible for seeing that the standards are achieved, and who has authority to allocate responsibilities to management and supervisors at all levels and to see they are carried out. The safety policy should deal with the following matters: 1) Arrangements for training at all levels. Particular attention needs to be given to key workers such as scaffolders and crane operators whose mistakes can be especially dangerous to other workers; 2) safe methods or systems of work for hazardous operations: the workers carrying out these operations should be involved in their preparation; 3) the duties and responsibilities of supervisors and key workers; 4) arrangements by which information on safety and health is to be made known; 5) arrangements for setting up safety committees; 6) the selection and control of subcontractors. Safety organization and management (policies) must cover all aspects of the employer’s or the contractor’s operations Moral Approach in handling safety, health and welfare Moral approach in handling safety, health and welfare has to do with how employees are treated by the establishment. Candidates at this point will identify the initiatives within the organization/establishment which have been developed for employees under the heading of safety, health and welfare. These could include: 1) Health care for employees and family. 2) Provision of safety equipment for employees. 3) Insurance packages for employees. PRESENTATION Seven points are allotted for presentation and in order for students to score maximum they must meet all the requirements outlined in the mark scheme. Keen attention must be placed on the use of tables, charts, pictures and diagrams to present data. The instrument selected can be used to represent any data that the student wishes to highlight. All areas to be addressed under introduction and content should be treated as headings and subheadings thus improving the presentation of the report. COMMUNICATION OF INFORMATION This area deals with the communication of information in a logical way using correct grammar and appropriate jargon of the field. All of twelve marks are allotted to this area and as such teacher is expected to monitor students closely ensuring that all the requirements outlined are adhered to as much as possible. SUMMARY This segment of the report carries (2 marks). These are separated evenly between two areas: 1) Major findings 2) Recommendations Major Findings This is where students will highlight any area of plant operation that they might consider to be outstanding. This could include new technology which leads to greater efficiency. Recommendation This is where students identify possible strategies/initiatives which could serve to improve operations in the areas of concern.

The Yellow Wallpaper, by Charlotte Perkins Gilman -- Literary Analysis

Charlotte Perkins Gilman wrote an amazing story in 1892 entitled â€Å"The Yellow Wallpaper†. The story is full of symbolism and was inspired by Gilman's own life struggles. This analysis of her work will cover some important parts of the author’s life, the characters, the setting of the story, and the plot. Throughout the analysis will be explanations of symbols and how the author tied her personal experiences into the story. Charlotte Perkins Gilman’s work, â€Å"The Yellow Wallpaper† is a story that the author wrote to depict her own struggle with mental illness. In order to really appreciate this story, it may help to know about the author’s life. Born in 1860, she was the only child of Mary Finch Westcott and Frederick Beecher Perkins, a librarian and writer. It is said that Charlotte’s father abandoned his family, and, on the verge of poverty, they were forced to move around frequently (Merriman). At the age of 24, Charlotte married her first husband, Charles Watson Stetson, with whom she bore a daughter, Katharine Beecher Stetson. Shortly after giving birth, Charlotte began to suffer from severe postpartum depression and had a nervous breakdown. She spent some time at a sanitorium in Pennsylvania, under the care of Dr. Silas Weir Mitchell (Merriman). In 1913, Gilman wrote â€Å"Why I Wrote ‘The Yellow Wallpaper’†; For many years I suffered from a severe and continuous nervous breakdown tending to melancholia – and beyond. During about the third year of this trouble I went, in devout faith and some faint stir of hope, to a noted specialist in nervous diseases, the best known in the country. This wise man put me to bed and applied the rest cure, to which a still good physique responded so promptly that he concluded that there was no... ... the characters in the story, the setting of the story, and the plot of the story. While times have changed drastically since Gilman wrote her story, it is my hope that women everywhere will read â€Å"The Yellow Wallpaper†, recognize the struggles she faced in her life, and be grateful that she chose to not accept the advice of a male physician wanting her to submit to a domestic, docile, stereotypical housewife sort of life. Works Cited Booth, Allison and Kelly Mays. The Norton Introduction to Literature. 10th ed. New York: W. W. Norton & Company, 2010. Merriman, C.D. â€Å"Charlotte Perkins Gilman.† Jalic, Inc. 2006. 27 Feb. 2015. http://www.online-literature.com/charlotte-perkins-gilman/. Voight, Heather â€Å"Symbols in the Yellow Wallpaper, by Charlotte Perkins Gilman.† 2010. 27 Feb. 2015. http://www.helium.com/items/1753292-symbols-in-the-yellow-wallpaper.

The Life of Sculptor Constantin Brancusi

Our simplest words are often the deepest in meaning: birth, kiss, flight, dream. The sculptor Constantin Brancusi spent his life searching for forms as simple and pure as those words—forms that seem to have existed forever, outside of time. Born a peasant in a remote village in Romania, he spent most of his adult life in Paris, where he lived in a single small room adjoining a skylit studio. Upon his death in 1957, Brancusi willed the contents of his studio to the French government, which eventually re-created the studio itself in a museum (1. 1). Near the center of the photograph are two versions of an idea Brancusi called Endless Column. Pulsing upward with great energy, the columns seem as though they could go on forever. Perhaps they do go on forever, and we can see only part of them. Directly in front of the white column, a sleek, horizontal marble form looking something like a slender submarine seems to hover over a disk-shaped base. Brancusi called it simply Fish. It does not depict any particular fish but, rather, shows us the idea of something that moves swiftly and freely through the water, the essence of a fish. To the left of the dark column, arching up in front of a patch of wall painted red, is a version of one of Brancusi's most famous works, Bird in Space. Here again the artist portrays not a particular bird but, rather, the idea of flight, the feeling of soaring upward. Brancusi said that the work represents â€Å"the soul liberated from matter. †1 A photograph by Brancusi shows another, more mysterious view of Bird in Space (1. 2). Light from a source we cannot see cuts across the work and falls in a sharp diamond shape on the wall behind. The sculpture casts a shadow so strong it seems to have a dark twin. Before it lies a broken, discarded work. The photograph might make you think of the birth of a bird from its shell, or of a perfected work of art arising from numerous failed attempts, or indeed of a soul newly liberated from its material prison. Brancusi took many photographs of his work, and through them we can see how his sculptures lived in his imagination even after they were finished. He photographed them in varying conditions of light, in multiple locations and combinations, from close up and far away. With each photograph they seem to reveal a different mood, the way people we know reveal different sides of themselves over time. Living with art, Brancusi's photographs show us, is making art live by letting it engage our attention, our imagination, our intelligence. Few of us, of course, can live with art the way Brancusi did. Yet we can choose to seek out encounters with art, to make it a matter for thought and enjoyment, and to let it live in our imagination. You probably live already with more art than you think you do. Very likely the walls of your home are decorated with posters, photographs, or even paintings you chose because you find them beautiful or meaningful. Walking around your community you probably pass by buildings that were designed for visual appeal as well as to serve practical ends. If you ever pause for a moment just to look at one of them, to take pleasure, for example, in its silhouette against the sky, you have made the architect's work live for a moment by appreciating an effect that he or she prepared for you. We call such an experience an aesthetic experience. Aesthetics is the branch of philosophy concerned with the feelings aroused in us by sensory experiences—experiences we have through sight, hearing, taste, touch, and smell. Aesthetics concerns itself with our responses to the natural world and to the world we make, especially the world of art. What art is, how and why it affects us—these are some of the issues that aesthetics addresses. This book hopes to deepen your pleasure in the aesthetic experience by broadening your understanding of one of the most basic and universal of human activities, making art. Its subject is visual art, which is art that addresses the sense of sight, as opposed to music or poetry, which are arts that appeal to the ear. It focuses on the Western tradition, by which we mean art as it has been understood and practiced in Europe and in cultures with their roots in European thought, such as the United States. But it also reaches back to consider works created well before Western ideas about art were in place and across to other cultures that have very different traditions of art. THE IMPULSE FOR ART No society that we know of, for as far back in human history as we have been able to penetrate, has lived without some form of art. The impulse to make and respond to art appears to be as deeply ingrained in us as the ability to learn language, part of what sets us apart as humans. Where does the urge to make art come from? What purposes does it serve? For answers, we might begin by looking at some of the oldest works yet discovered, images and artifacts dating from the Stone Ages, near the beginning of the human experience. On the afternoon of December 18, 1994, two men and a woman, all experienced cave explorers, were climbing among the rocky cliffs in the Ardeche region of southeastern France. From a small cavity in the rock, they felt a draft of air, which they knew often signaled a large cavern within. After clearing away some rocks and debris, they were able to squeeze through a narrow channel into what appeared to be an enormous underground room, its floor littered with animal bones. Pressing farther into the cave, the explorers played their lights on the walls and made an astonishing discovery: The walls were covered with drawings and paintings (1. 3)—more than three hundred images as they eventually found—depicting rhinoceroses, horses, bears, reindeer, lions, bison, mammoths, and others, as well as numerous outlines of human hands. It was evident that the paintings were extremely old and that the cave had remained untouched, unseen by humans, since prehistoric times. The explorers agreed to name the site after the one in their number who had led them to it, Jean-Marie Chauvet, so it is called the Chauvet cave. What they did not realize until months later, after radiocarbon testing had accurately dated the paintings, was that they had just pushed back the history of art by several thousand years. The Chauvet images were made about 30,000 B. C. E. and are the oldest paintings we know. The paintings date from a time known as the Upper Paleolithic Period, which simply means the latter part of the Old Stone Age. Archaeologists have formed some tentative conclusions about how the paintings were done. Pigments of red and yellow ochre, a natural earth substance, along with black charcoal, could have been mixed with animal fat and painted onto the walls with a reed brush. In powdered form, the same materials probably were mouth-blown onto the surface through hollow reeds. Many of the images are engraved, or scratched, into the rock. More intriguing is the question of why the cave paintings were made, why their creators paid such meticulous attention to detail, why they did their work so far underground. The paintings clearly were not meant to embellish a dwelling space. The cave artists must have lived—slept, cooked their meals, mated, and raised their children—much nearer to the mouths of these caves, close to daylight and fresh air. Until the Chauvet cave was discovered, many experts believed that ancient cave paintings were done for magical assistance in the hunt, to ensure success in bringing down game animals. But several of the animals depicted at Chauvet, including lions and rhinos and bears, were not in the customary diet of early peoples. Perhaps the artists wished to establish some kind of connection with these wild beasts, but we cannot know for sure. Fascinating as these mysteries are, they pass over perhaps the most amazing thing of all, which is that there should be images in the first place. The ability to make images is uniquely human. We do it so naturally and so constantly that we take it for granted. We make them with our hands, and we make them with our minds. Lying out on the grass, for example, you may amuse yourself by finding images in the shifting clouds, now a lion, now an old woman. Are the images really there? We know that a cloud is just a cloud, yet the image is certainly there, because we see it. Our experience of the images we make is the same. We know that a drawing is just markings on a surface, a newspaper photograph merely dots, yet we recognize them as images that reflect our world, and we identify with them. The experience was the same for Paleolithic image-makers as it is for us. All images may not be art, but our ability to make them is one place where art begins. The contemporary British sculptor Anthony Caro has said that â€Å"all art is basically Paleolithic or Neolithic: either the urge to smear soot and grease on cave walls or pile stone on stone. †2 By â€Å"soot and grease† Caro means the cave paintings. With â€Å"the urge to pile stone on stone† he has in mind one of the most impressive and haunting works to survive from the Stone Ages, the structure in the south of England known as Stonehenge (1. 4). Today much ruined through time and vandalism, Stonehenge at its height consisted of several concentric circles of megaliths, very large stones, surrounded in turn by a circular ditch. It was built in several phases over many centuries, beginning around 3100 B. C. E. The tallest circle, visible in the photograph here, originally consisted of thirty gigantic upstones capped with a continuous ring of horizontal stones. Weighing some 50 tons each, the stones were quarried many miles away, hauled to the site, and laboriously shaped by blows from stone hammers until they fit together. Many theories have been advanced about why Stonehenge was built and what purpose it served. Recent archaeological research has confirmed that the monument marks a graveyard, perhaps that of a ruling dynasty. The cremated remains of up to 240 people appear to have been buried there over a span of some five hundred years, from the earliest development of the site until the time when the great stones were erected. Other findings suggest that the monument did not stand alone but was part of a larger complex, perhaps a religious complex used for funerary rituals. What is certain is that Stonehenge held meaning for the Neolithic community that built it. For us, it stands as a compelling example of how old and how basic is our urge to create meaningful order and form, to structure our world so that it reflects our ideas. This is another place where art begins. In our society, we tend to think of art as something created by specialists, people we call artists, just as medicine is practiced by doctors and bridges are designed by engineers. In other societies, virtually everyone contributes to art in some way. Yet no matter how a society organizes itself, it calls on its art-makers to fulfill similar roles. Stonehenge was erected in the Neolithic era, or New Stone Age. The Neolithic era is named for the new kinds of stone tools that were invented, but it also saw such important advances as the domestication of animals and crops and the development of the technology of pottery, as people discovered that fire could harden certain kinds of clay. With pottery, storage jars, food bowls, and all sorts of other practical objects came into being. Yet much of the world's oldest pottery seems to go far beyond purely practical needs (1. 5). This elegant stemmed cup was formed around 2000 B. C. E. in what is now eastern China. Eggshell-thin and exceedingly fragile, it could not have held much of anything and would have tipped over easily. In other words, it isn't practical. Instead, great care and skill have gone into making it pleasing to the eye. Here is a third place we might turn to for the origins of art—the urge to explore the aesthetic possibilities of new technologies. What are the limits of clay, the early potters must have wondered. What can be done with it? Scholars believe such vessels were created for ceremonial use. They were probably made in limited quantity for members of a social elite. To construct meaningful images and forms, to create order and structure, to explore aesthetic possibilities—these characteristics seem to be part of our nature as human beings. From them, art has grown, nurtured by each culture in its own way. WHAT DO ARTISTS DO? First, artists create places for some human purpose. Stonehenge, for example, was probably created as a place where a community could gather for rituals. Closer to our own time, Maya Lin created the Vietnam Veterans Memorial as a place for contemplation and remembrance (1. 6). One of our most painful national memories, the Vietnam War saw thousands of young men and women lose their lives in a distant conflict that was increasingly questioned and protested at home. By the war's end, the nation was so bitterly divided that returning veterans received virtually no recognition for their services. In this atmosphere of continuing controversy, Lin's task was to create a memorial that honored the human sacrifice of the war while neither glorifying nor condemning the war itself. At the heart of the memorial is a long, tapering, V-shaped wall of black granite, inscribed with the names of the missing, the captured, and the dead—some 58,000 names in all. Set into the earth exposed by slicing a great wedge from a gently sloping hill, it suggests perhaps a modern entrance to an ancient burial mound, though in fact there is no entrance. Instead, the highly polished surface acts as a mirror, reflecting the surrounding trees, the nearby Washington Monument, and the visitors themselves as they pass by. Entering along a walkway from either end, visitors are barely aware at first of the low wall at their feet. The monument begins just as the war itself did, almost unnoticed, a few support troops sent to a small and distant country, a few deaths in the nightly news. As visitors continue their descent along the downward-sloping path, the wall grows taller and taller until it towers overhead, names upon names upon names. Often, people reach out to touch the letters, and as they do, they touch their own reflections reaching back. At the walkway's lowest point, with the wall at its highest, a corner is turned. The path begins to climb upward, and the wall begins to fall away. Drawn by a view of either the Washington Monument (as in the photograph here) or the Lincoln Memorial (along the other axis), visitors leave the war behind. In a quiet, unobtrusive way, the place that Maya Lin created encourages a kind of ritual, a journey downward into a valley of death, then upward toward hope, healing, and reconciliation. Like Stonehenge, it has served to bring a community together. A second task artists perform is to create extraordinary versions of ordinary objects. Just as the Neolithic vessel we looked at earlier is more than an ordinary drinking cup, so the textile here is more than an ordinary garment (1. 7). Woven in West Africa by artists of the Asante people, it is a spectacular example of a type of textile known as kente. Kente is woven in hundreds of patterns, each with its own name, history, and symbolism. Traditionally, a newly invented pattern was shown first to the king, who had the right to claim it for his own exclusive use. Like the Neolithic vessel, royal kente was reserved for ceremonial occasions. Rich, costly, and elaborate, the cloth distinguished its wearer as special as well, an extraordinary version of an ordinary human being. A third important task for artists has been to record and commemorate. Artists create images that help us remember the present after it slips into the past, that keep us in mind of our history, and that will speak of our times to the future. Illustrated here is a painting by a 17th-century artist named Manohar, one of several painters employed in the royal workshops of the emperor Jahangir, a ruler of the Mughal dynasty in India (1. 8). At the center of the painting we see Jahangir himself, seated beneath a sumptuous canopy. His son Khusrau, dressed in a yellow robe, offers him the precious gift of a golden cup. The painting commemorates a moment of reconciliation between father and son, who had had a violent falling out. The moment did not last, however. Khusrau would soon stage an armed rebellion that cost him the throne. Although the intricate details of Mughal history may be lost on us today, this enchanting painting gives us a vivid glimpse into their vanished world as they wanted it to be remembered. A fourth task for artists is to give tangible form to the unknown. They portray what cannot be seen with the eyes or events that can only be imagined. An anonymous Indian sculptor of the 10th century gave tangible form to the Hindu god Shiva in his guise as Nataraja, Lord of the Dance (1. 9). Encircled by flames, his long hair flying outward, Shiva dances the destruction and rebirth of the world, the end of one cycle of time and the beginning of another. The figure's four arms communicate the complexity of this cosmic moment. In one hand, Shiva holds the small drum whose beat summons up creation; in another hand, he holds the flame of destruction. A third hand points at his raised foot, beneath which worshipers may seek refuge, while a fourth hand is raised with its palm toward the viewer, a gesture that means â€Å"fear not. † A fifth function artists perform is to give tangible form to feelings and ideas. The statue of Shiva we just looked at, for example, gives tangible form to ideas about the cyclical nature of time that are part of the religious culture of Hinduism. In The Starry Night (1. 10), Vincent van Gogh labored to express his personal feelings as he stood on the outskirts of a small village in France and looked up at the night sky. Van Gogh had become intrigued by the belief that people journeyed to a star after their death, and that there they continued their lives. â€Å"Just as we take the train to get to Tarascon or Rouen,† he wrote in a letter, â€Å"we take death to reach a star. †4 Seen through the prism of that idea, the night landscape inspired in him a vision of great intensity. Surrounded by halos of radiating light, the stars have an exaggerated, urgent presence, as though each one were a brilliant sun. A great wave or whirlpool rolls across the sky—a cloud, perhaps, or some kind of cosmic energy. The landscape, too, seems to roll on in waves like an ocean. A tree in the foreground writhes upward toward the stars as though answering their call. In the distance, a church spire points upward as well. Everything is in turbulent motion. Nature seems alive, communicating in its own language while the village sleeps. Finally, artists refresh our vision and help us see the world in new ways. Habit dulls our senses. What we see every day we no longer marvel at, because it has become familiar. Through art we can see the world through someone else's eyes and recover the intensity of looking for the first time. Ernst Haas' photograph Peeling Paint on Iron Bench, Kyoto, 1981 (1. 11) singles out a small detail of an ordinary day and asks us to notice how rich it is if we really take the time to look. Rain has made the colors shine with fresh intensity, brilliant red against deep black, and the star-shaped leaves could almost be made of gold. After seeing through Haas' eyes, we may find ourselves—if only for a few hours—more attentive to the world around us, which is stranger, more mysterious, more various, and more beautiful than we usually realize. CREATING AND CREATIVITY Out walking on a rainy day in Kyoto, Ernst Haas could have noticed the park bench, smiled with pleasure, and continued on his way. Standing in a field over a century ago, Van Gogh could have had his vision of the night sky, then returned to his lodgings—and we would never have known about it. We all experience the moments of insight that put us where art begins. For most of us, such moments are an end in themselves. For artists, they are a beginning, a kind of raw material that sets a creative process in motion. Creativity is a word that comes up often when talking about art, but what is creativity exactly? Are we born with it? Can it be learned? Can it be lost? Are artists more creative than other people? If so, how did they get that way? Many writers and educators have tried to analyze creativity and determine what makes a person creative. 6 Although the exact nature of creativity remains elusive, there is general agreement that creative people tend to possess certain traits, including: †¢ Sensitivity —heightened awareness of what one sees, hears, and touches, as well as responsiveness to other people and their feelings. †¢ Flexibility —an ability to adapt to new situations and to see their possibilities; willingness to find innovative relationships. Originality —uncommon responses to situations and to solving problems. †¢ Playfulness —a sense of humor and an ability to experiment freely. †¢ Productivity —the ability to generate ideas easily and frequently, and to follow through on those ideas. †¢ Fluency —a readiness to allow the free flo w of ideas. †¢ Analytical skill —a talent for exploring problems, taking them apart, and finding out how things work. †¢ Organizational skill —ability to put things back together in a coherent order. We might bear that list in mind as we look at Tim Hawkinson's Emoter (1. 12). Like many of Hawkinson's works, Emoter looks like a do-it-yourself science project that has gotten a little out of hand. The stepladder on the floor houses a black-and-white television monitor tuned to a local broadcast station. Rows of light sensors attached to the monitor's screen react to changes in the moving image, sending signals through a tangle of cords, cables, and wires up to a large photograph of the artist's face. The components of the face—eyes, nostrils, eyebrows, and mouth—move continuously in response to the signals they receive, generating expressions that are as extravagant as a mime's. Certainly, sensitivity made Hawkinson a keen observer of faces, and originality suggested to him that such unlikely material as laboratory experiments monitoring brain waves, or antiquated scientific theories linking specific facial expressions to specific emotions, could inspire a work of art. Playfulness, flexibility, fluency, and productivity set him to exploring ways in which his project could be given form, while analytical and organizational skills allowed him to carry it to completion. The profession of artist is not the only one that requires creativity. Scientists, mathematicians, teachers, business executives, doctors, librarians, computer programmers—people in every line of work, if they are any good, look for ways to be creative. Artists occupy a special place in that they have devoted their lives to opening the channels of visual creativity. Can a person become more creative? Almost certainly, if one allows oneself to be. Being creative means learning to trust one's own interests, experiences, and references, and to use them to enhance life and work. Above all, it means discarding rigid notions of what has been or should be in favor of what could be. Creativity develops when the eyes and the mind are wide open, and it is as important to looking at art as it is to making it. We close this chapter by exploring what looking creatively might involve. LOOKING AND RESPONDING Science tells us that seeing is a mode of perception, which is the recognition and interpretation of sensory data—in other words, how information comes into our eyes (ears, nose, taste buds, fingertips) and what we make of it. In visual perception, our eyes take in information in the form of light patterns; the brain processes these patterns to give them meaning. The role of the eyes in vision is purely mechanical. Barring some physical disorder, it functions the same way for everyone. The mind's role in making sense of the information, however, is highly subjective and belongs to the realm of psychology. Simply put, given the same situation, we do not all notice the same things, nor do we interpret what we see in the same way. One reason for differences in perception is the immense amount of detail available for our attention at any given moment. To navigate efficiently through daily life, we practice what is called selective perception, focusing on the visual information we need for the task at hand and relegating everything else to the background. But other factors are in play as well. Our mood influences what we notice and how we interpret it, as does the whole of our prior experience—the culture we grew up in, relationships we have had, places we have seen, knowledge we have accumulated. The subjective nature of perception explains why a work of art may mean different things to different people and how it is that we may return to a favorite work again and again, noticing new aspects of it each time. It explains why the more we know, the richer each new encounter with art will be, for we will have more experience to bring to it. It explains why we should make every effort to experience as much art in person as possible, for physical dimensions also influence perception. The works reproduced in this book are miniaturized. Many other details escape reproduction as well. Above all, the nature of perception suggests that the most important key to looking at art is to become aware of the process of looking itself—to notice details and visual relationships, to explore the associations and feelings they inspire, to search for knowledge we can bring to bear, and to try to put what we see into words. A quick glance at Juan de Valdes Leal's Vanitas (1. 13) reveals a careless jumble of objects with a cherub looking over them. In the background, a man looks out at us from the shadows. But what are the objects? And what are the cherub and the man doing? Only if we begin to ask and answer such questions does the message of the painting emerge. In the foreground to the left is a timepiece. Next to it are three flowers, each one marking a stage in the brief life of a flower across time: budding, then blossoming, then dying as its petals fall away. Then come dice and playing cards, suggesting games of chance. Further on, a cascade of medals, money, and jewelry leads up to an elaborate crown, suggesting honors, wealth, and power. At the center, books and scientific instruments evoke knowledge. Finally, back where we began, a skull crowned with a laurel wreath lies on its side. Laurel traditionally crowns those who have become famous through their achievements, especially artistic achievements. Over this display the cherub blows a bubble, as though making a comment on the riches before him. A bubble's existence is even shorter than a flower's—a few seconds of iridescent beauty, and then nothing. Behind the books, a crystal globe resembles a bubble as well, encouraging us to see a connection. When we meet the man's gaze, we notice that he has drawn back a heavy curtain with one hand and is pointing at a painting he has thus revealed with the other. â€Å"Look at this,† he all but speaks. The painting depicts the Last Judgment. In Christian belief, the Last Judgment is the moment when Christ will appear again. He will judge both the living and the dead, accepting some into Paradise and condemning others to Hell. The universe will end, and with it time itself. We might paraphrase the basic message of the painting something like this: â€Å"Life is fleeting, and everything that we prize and strive for during it is ultimately meaningless. Neither wealth nor beauty nor good fortune nor power nor knowledge nor fame will save us when we stand before God at the end of the world. † Without taking the time to perceive and reflect on the many details of the image, we would miss its message completely. Vanitas is Latin for â€Å"vanity. † It alludes to the biblical book of Ecclesiastes, a meditation on the fleeting nature of earthly life and happiness in which we read that in the end, â€Å"all is vanity. The title wasn't invented or bestowed by the artist, however. Rather, it is a generic name for a subject that was popular during his lifetime. Numerous vanitas paintings have come down to us from the 17th century, and together they show the many ways that artists treated its themes. Closer to our own time, the painter Audrey Flack be came fascinated by the vanitas tradition, and she created a series of her own, including Wheel of Fortune (Vanitas) (1. 14). Knowing something of the tradition Flack is building on, we can more easily appreciate her updated interpretation. As ever, a skull puts us in mind of death. An hourglass, a calendar page, and a guttering candle speak of time and its passing. The necklace, mirrors, powder puff, and lipstick are contemporary symbols of personal vanity, while a die and a tarot card evoke the roles of chance and fate in our lives. As in the painting by Valdes, a visual echo encourages us to think about a connection, in this case between the framed oval photograph of a young woman and the framed oval reflection of the skull just below. Flack may be painting with one eye on the past, but the other is firmly on our society as we are now. For example, she includes modern inventions such as a photograph and a lipstick tube, and she shuns symbols that no longer speak to us directly such as laurels and a crown. The specifically Christian context is gone as well, resulting in a more general message that applies to us all, regardless of faith: Time passes quickly, beauty fades, chance plays a bigger role in our lives than we like to think, death awaits. Despite their differences, both Flack and Valdes provide us with many clues to direct our thoughts. They depict objects that have common associations and then trust us to add up the evidence. At first glance, a contemporary work such as Jim Hodges' Every Touch seems very different (1. 15). Every Touch is made of artificial silk flowers, taken apart petal by petal. The petals were ironed flat, intermingled, then stitched together to form a large curtain or veil. Yet although Every Touch may not direct our thoughts as firmly as the other works, we approach it in the same way. We look, and we try to become aware of our looking. We ask questions and explore associations. We bring our experience and knowledge to bear. We interrogate our feelings. We might think of spring. We might be put in mind of other art, such as the flowered backgrounds of medieval tapestries (see 15. 24) or the role of flowers in the vanitas tradition. We might think about flowers and the occasions on which we offer them. We might think about the flowers we know from poetry, where they are often linked to beauty and youth, for all three fade quickly. We might think about petals, which fall from dying flowers. We might think about veils and when we wear them, such as at weddings and funerals. We might notice how delicately the work is stitched together and how fragile it seems. We might think about looking not only at it but also through it, and about how a curtain separates one realm from another. The man in Valdes' painting, for example, draws back a curtain to reveal the future. Every Touch is not as easily put into words as the vanitas paintings, but it can inspire thoughts about many of the same ideas: seasons that come and go, how beauty and sadness are intertwined, the ceremonies that mark life's passing, the idea of one realm opening onto another, the fragility of things. In the end, what we see in Every Touch depends on what we bring to it, and if we approach the task sincerely, there are no wrong answers. Every Touch will never mean for any of us exactly what it means for Hodges, nor should it. An artist's work grows from a lifetime of experiences, thoughts, and emotions; no one else can duplicate them exactly. Works of art hold many meanings. The greatest of them seem to speak anew to each generation and to each attentive observer. The most important thing is that some works of art come to mean something for you, that your own experiences, thoughts, and emotions find a place in them, for then you will have made them live.

Ccj V Privy Council

†¢? The creation of a new court is one of the most important decisions for Jamaica. Jamaican citizens have the right to appeal to the Privy Council in criminal, civil or Constitutional matters. †¢ The Government of Jamaica proposes to take away your right of appeal to the Privy Council and replace it with a new court called the Caribbean Court of Justice †¢ A process of public education and debate is essential and the public must be involved in making the final decision. †¢ We don't know how much the Caribbean Court of Justice will cost. We know the Government has to borrow the money to set it up, and Jamaica is carrying too much debt as it is.The Privy Council gives its services at no cost to the Public Purse. †¢ A final court of appeal should be permanent. However members may withdraw from the Caribbean Court of Justice by giving 3 years notice †¢ Concerns remain about the full independence of the President of the Court, his/her special prominence and the security of tenure of the judges, which are absolutely critical factors. †¢ The judges of the Privy Council are entirely free from any interference or pressure from politicians in Jamaica or the Caribbean †¢ The atrocious state of our courts is a national disgrace.How can we talk about funding a new Caribbean Court, when our own courts are dilapidated, and lack basic amenities such as proper toilets? We must put our own house in order first. Justice should begin at home. †¢? Whether you support the establishment of a Caribbean Court of Justice or not, it is your right to express your opinion, and it is the Government’s duty to ask us if and when or whether we choose to replace the Privy Council as our Final Court of Appeal. †¢ The Government should not remove the right of appeal to the Privy Council without a referendum. The Government should not alter our rights

Wedding venues Essay Example

Wedding venues Essay Example Wedding venues Essay Wedding venues Essay Name: Instructor: Course: Date: Wedding venues The three appropriate venues for wedding are Belhurst, Queensbury and Manhattan bureau all in New York. Since the wedding will have a Hindu theme, the best venue is Queensbury hotel. The hotel has a spacious hall for hosting weddings. The hall is also well garnished with bright colors and architectural designs. It is well lit with colored lights that create an exciting celebratory mood. The hall has adequate space for holding guests and adding decor. This venue is suitable for the vow ceremony as well as the reception. The hotel management provides the seats for all the necessary guests. Where seats are not necessary, they provide the necessary materials. Queensbury Hotel Manhattan Marriage Bureau The venue is available for weddings but couples need to book in advance. This hotel is quite popular and is usually overbooked since it is a favorite for most couples wishing to get married. Therefore, confirmation is required for use of the hall. Booking helps the hotel management to prepare in advance and they brief the couple on any requirements. For example, the couple needs to give an estimation of the number of guests expected. This will allow the catering department to prepare food and drinks adequately. The cost of hiring this hall is relatively affordable. The actual amount of money differs from one wedding to another. This is due to the different arrangements and requirements. This venue gives liberty of using outside decor for weddings. Couples are allowed to bring in any kind of decoration they see applicable in the hall. The management offers decoration services should the couple need them. Hindu weddings are characterized with many flowers and artwork. The artwork may include drawings and paintings. The women can also choose beautiful valances to put on walls and windows. The flowers and valances should be concentrated at the altar where exchanging vows will take place. The hotel has ample parking for wedding guests. The security of the hotel ensures all the vehicles are safe. The hotel’s staff is enough to offer services for a wedding ceremony. The catering department will prepare meals and drinks in accordance to the couples’ instructions. At the time of the wedding, the waiters and waitresses serve the guests. Many types of food are available and if not, the catering department can prepare them on request. Hindus have diverse culinary arts therefore, the couple is required to confirm whether the caterers will provide the food required. The theme colors are chosen by the bride and groom and they should be incorporated in the hall decor. The sitting arrangement is part of decorating the hall. It has to be well organized in a unique design. The design should have a clear view to the front for the guests to follow the wedding program. There should be no congestion and it can be avoided by choosing a design, which will leave ample spaces for people to pass. The altar should be higher than the ground for people to have a better view. It helps to catch the attention of all the guests. A blessing is part of a Hindu wedding and it might last for several hours depending on the beliefs of the couple. It involves a Hindu priest who incorporates other rituals as well. The blessing should be done together with other activities of the ceremony. For example, some of the activities are calling upon Agni to attend the wedding. The couple makes seven steps where each step has a blessing. After the priest has made it official the couple is married, the blessing can be recited. It wishes the couple a good life together and their offsprings. The blessing includes wishes like the couple to remain strong and assist each other in areas of weakness. People wish for the couple to have wealth and prosper through their lifetime. The couple is wished happiness, harmony, friendship forever, and a lovely family. An interesting thing about Hindu wedding is the aspect of divinity. When the couple is at the altar, they are considered as god and goddess. The bride is goddess of fortune and groom is god of preservation. It is an admirable observation where the bride and groom come together as they have a feeling of divinity. A Hindu wedding has long proceedings and more requirements than a modern typical wedding. This is why it is essential for preparations to begin early. The venue should suitable for all the rituals and activities, which take place. Hindu weddings are done indoors therefore; the venue should not be in the open air. Further preparation involves dressing the bride and groom. The bride is the center of attention so she needs to be attractive. Hindu brides are dressed in beautiful dresses and veil. They wear many ornaments and use cosmetics for beauty enhancements. The groom dresses in fine clothes and some like holding flowers. Transportation to the venue and inviting guests should be pre-determined.

5 Benefits You Can Get From Intramural Sports in College

5 Benefits You Can Get From Intramural Sports in College Many campuses have intramural sports teams - teams that arent eligible for athletic scholarships, arent as competitive as other sports on campus and generally take anyone who wants to join. Like many co-curricular activities, joining an intramural team can take a lot of time and energy - something that tends to be in short supply for busy college students - but if its something you think youd enjoy, it very well could be worth the commitment: A variety of studies have found there are great benefits to playing intramural sports.   1. Intramurals Are an Amazing Stress  Reliever Youll have no shortage of stress in college: exams, group projects, roommate drama, computer problems - you name it. With all that going on, its sometimes hard to fit fun into your calendar. Because intramural competitions have a set schedule, youre practically forced to set aside time to run around with your friends. Even for the most intense of intramural players, a little friendly competition should be a nice change of pace from the classroom and assignment deadlines. 2. They Provide Great Exercise While most college students would like to go to the gym on a regular basis, few actually do. With a predetermined time already in your schedule, your workout is more likely to happen. Youre also held accountable to show up by your teammates. In addition, the time will pass quicker than if you were alone in the gym. And you know that feeling when youre working out and you just want to cut the gym session short? You cant quite do that during a game. Team sports are a great way to push yourself - that can be hard to do when youre working out alone.   3. Theyre a Great Way to Meet People You may be getting used to seeing similar people in the courses for your major, in your residence hall or at the events you go to on campus. Intramurals can be a great way to meet students that you may not otherwise run into. In fact, you dont necessarily need to know anyone to join an intramural team, so signing up can quickly expand your social circle. 4. There Can Be Leadership  Opportunities Every team needs a captain, right? If youre looking to build your resume or test out your leadership skills, intramural teams can be a great place to start. 5. Its One of the Few Things Youll Do Just for Fun A lot of things you do in college probably have very specific goals and purposes: taking a class to meet a requirement, doing an assignment to get good grades, working to pay for school, etc. But you dont need to assign a purpose to intramural sports. After all, its flag football - youre not making a career out of it. Join a team because itll be fun. Go out and play just because you  can.

Participation Exercise #4 Assignment Example | Topics and Well Written Essays - 250 words

Participation Exercise #4 - Assignment Example Manufacturer’s expenses that occur apart from the actual manufacturing is the second component of overhead (nonmanufacturing costs). Predetermined overhead rate is useful in ‘applying’ overhead cost in a manufacturing setup. It is calculated at the beginning of the company’s accounting cycle. The formula for calculating the pre-determined overhead rate is as follows: According to generally accepted accounting principles (GAAP) manufacturing overhead must be included in the cost of Work in Process Inventory and Finished Goods Inventory on a manufacturer’s balance sheet. Pre-determined rate therefore is used to divide and allocate manufacturing overhead costs to each unit produced. It is defined as the rate used to apply manufacturing overhead to work- in- process inventory (Kimmel, Weygandt and Kieso). From the formula for calculating predetermined overhead rate, overhead is obtained by multiplying predetermined overhead rate by actual driver units. The difference between applied overhead and the amount of overhead actually incurred is referred to as over-or-under-applied overhead. Over-applied overhead increases the cost of production hence lower the company’s level profits. Under-applied overhead gives high rates of profits which may not be the correct position of the organization (Kimmel, Weygandt and

Decision making to IT related Ethical issue Essay

Decision making to IT related Ethical issue - Essay Example The latter consists of software programs, music, videos and other content that is being protected by the international law. The sites which provide easy access to it are called trackers. One of the most famous ones, namely The Pirate Bay has been closed several times, but it still operates. One would make no mistake that there are several groups of stakeholders that can be identified in this situation. First of all, there are end users who got used to being able to download any content they want for free. Secondly, there are the creators of the contents who want to earn money with the help of it. Thirdly, there is the government who is willing to gain an effective control over this segment. Finally, there are owners of the web sites that are affected by the applicable legislation. There may be several consequences of the decision. For example, if software piracy is being taken care of severely, it will be impossible to listen to the music online (Morley & Parker, 2007, p. 604). In addition to that, a lot of web site will have to erase the content that they currently have and change to comply with the law. There are several principles that should be taken into consideration. On the one hand, the government is responsible for making sure that its citizens obey the law and punish those who refuse to do so (Kehal, 2004, p. 176). In spite of the fact that the Internet is considered to be a virtual space that does not obey any particular government, those who download the content are always situated in a particular legal framework. On the other hand, there are people who argue that free sharing should become the characteristic feature of the digital age and it is ridiculous to fight it. One might identify quite a few options that there are. To begin with, it may be rather effective to block every single web site that provides those who access it with the ability to