Conflict Management Skills the Case Study of Andy J

Difference in Gothic and Romanesque architecture Essay Essays

Difference in Gothic and Romanesque architecture Essay Essays Difference in Gothic and Romanesque architecture Essay Paper Difference in Gothic and Romanesque architecture Essay Paper Different Architecture of Romanesque and Gothic Inspired Buildings There have been legion pilgrims journeies made across France and Spain. each one merely every bit alone as the one before it. Along these paths there are an unmeasurable figure of brilliant churches and temples each with their ain history. architecture and art work. doing them really typical. Time and topographic point are of import influences of the design of these churches and temples when they were built ; this means that we have encountered tonss of distinguishable architectural types along our pilgrims journeies. I will analyze every bit good as comparison the similarities and differences of two types of architecture from the center ages called Romanesque and Gothic. Romanesque and Gothic architecture differ in many ways from how the exterior expressions to the temper on the interior to the sculptures. arch types and the clearstory. The two architectural types are different because they were influenced by the dif ferent forces environing them at the clip. The periods in clip when these architectures were being defined played an of import function in the result. Romanesque architecture started being used in the sixth century and finally evolved into Gothic architecture in the twelfth century which lasted until the sixteenth century. 1 We can see clear development of the distinguishable characteristics of Romanesque architecture morphing into Gothic architecture. During the twelfth century there are edifices incorporating characteristics of both Romanesque and Gothic architecture. As the edifices would take old ages to finish. the initial phases of the edifice would be Romanesque and the ulterior parts would be Gothic. I will look closely at two churches while besides touching on other churches that we have discussed this semester and compare their characteristics. St Sernin in Toulouse. France and Notre Dame Cathedral in Chartres. France will stand for Romanesque and Gothic creditably. The church of St Sernin is the largest church in Toulouse. the 4th largest metropolis in France. and it is Romanesque architecture at its finest. Toulouse was one time portion of a part called Roman Gaul and the church was built during the clip of the Roman Empire. This is why we see Romanesque architecture throughout France and countries of Spain. The Notre Dame Cathedral in Chartres. France is considered to be one of the most of import Gothic edifices. non merely along the pilgrims journey paths but in the universe. Unlike Toulouse. Chartres is a bantam small state town nevertheless. Notre Dame Cathedral is celebrated for its beautiful architecture. alone sculptures and awe inspiring discoloration glass Windowss. The outside of Romanesque architecture was built more for map than beauty. We find most of this architecture embedded in palaces where defense mechan ism was imperative. While defense mechanism wasn’t as of import for the churches we can still see this manner bing in many Romanesque churches. â€Å"The walls of Romanesque edifices are frequently of monolithic thickness with few relatively little openings† . 2 Having midst walls and little Windowss. the palaces were about impenetrable nevertheless this meant the design of the churches were comparatively simplistic when compared to Gothic edifices. When we look at St Sernin we able to place these characteristics. There are legion Windowss around the church nevertheless as St Sernin is a instead big Church you would anticipate to see more Windowss with other manners of architecture. The forepart of St Sernin has one big unit of ammunition window but the remainder of this facing is chiefly rock with few comparatively little Windowss. When we compare this to Gothic architecture we can see a important difference. When Romanesque architecture evolved into Gothic architecture the arches were no longer merely for prolonging the weight. they became more visually appealing. Gothic architecture came to be because of â€Å"a a lone combination of bing technologies†¦ Those engineerings were the ogival or pointed arch. the ribbed vault. and the winging buttress† . 3 These new engineerings meant that the exterior walls could be thinner and have more Windowss as the weight of the roof and upper degrees were better distributed through clustered columns. Having lighter walls and more Windowss and gaps led to more cosmetic and visually arresting edifices considered to be plants of art. Notre Dame Cathedral is an impressive work of art which uses all the new engineerings in exposing one of the finest illustrations of Gothic architecture. The frontage of the cathedral is high and good decorated. There is a brilliant unit of ammunition window which is the centre piece of the face which is surrounded by countless pointed arch Windowss designed to back up the weight. Unlike the church of St Sernin where most of the forepart wall was rock. Notre Dame’s forepart wall consists largely of Windowss. These exterior characteristics had a important imp act on the interior feel and temper of the edifices. The sum of light Lashkar-e-Taiba in by the two comparative architectural types has a batch to make with the feel and temper of the inside. When come ining different edifices one â€Å"can experience the difference between the [ two types of ] architecture† . 4 When it comes to the Romanesque manner of St Sernin. really small visible radiation is able to perforate the midst walls with small gaps which makes the interior temper experience dark and glooming. When you compare that to the Gothic Notre Dame. with its legion Windowss it has a wholly different feel. Alternatively of experiencing dark and gloomy like St Sernin. Notre Dame’s inside has a much lighter and a more inviting mood. ] Another specifying characteristic of Gothic architecture is one of the new engineerings. the pointed or ogival arches. This new manner of transporting the weight was radical as costs could be cut by holding more glass and less rock work. Structural â€Å"use of the pointed arch gave a greater flexibleness to architectural signifier. it besides gave Gothic architecture a really different ocular character to Romanesque† . 5 These arches meant the ceiling could be made higher than before symbolizing an aspiration for Eden. All Gothic gaps such as Windowss. room accesss and galleries are made with pointed arches. The church at St Sernin is no exclusion to this regulation. Looking at the exterior of the edifice all you can see is pointed condescending doors and Windowss. It is the same one time you have entered the edifice. pointed archways running down both sides of church. Compared to Gothic architecture. Romanesque architecture was an out-of-date technique when it came to effici ency. Romanesque design wasn’t as advanced. alternatively of utilizing efficient pointed arches like Gothic designs ; rounded or semi circle arches were used for their arches. This is more efficient at keeping weight than a square room access but non every bit efficient as a pointed arch. To get the better of this failing of the rounded arches â€Å"instead of a individual unit of ammunition arch of rock to cross an opening†¦ [ they use ] countless arches† . 6 This manner the weight burden is spread over legion arches alternatively of a individual arch. When we look at the church in St Sernin the room accesss and Windowss are all rounded. The chief entryway has two big rounded room accesss. when we look closely we can see it isn’t a like the other arches. to transport the weight they have made the arch wider than the wall coming out a few pess. When we go inside we can see that on top of the rows of columns on the inside there are rounded arches. even the r oof is a rounded arch which is supported by moulded arches. Sculpture work that exists on the interior and outside of churches had two intents. Intricate sculpture works on the churches were visually appealing doing them more attractive to pilgrims and tourers and it was besides a manner of storytelling that was guaranteed to last every bit long as the church. Romanesque sculptures evolved over the old ages holding three distinguishable periods. A crude period. the 2nd period was marked by churrigueresque hyperbole and the concluding refinement and assimilative period. 7 This manner of sculpture work frequently depicts scenes of mundane life including both people and animate beings. While the scenes of the sculptures seldom altered. how they were depicted was. In the 2nd period â€Å" [ g ] rotesque figures of work forces and animate beings. and designs derived from vegetable kingdom†8 were common. As we move into the 3rd period word pictures are more realistic. At St Sernin there is an copiousness of Romanesque sculptures carved into the south portal. It is an early piece of Romanesque sculpture work as the topics of the art work are all regular in visual aspect. Over the south portal is a scene of Christ with the 12 apostles below looking up at him. This was a common adequate word picture of Christ in Romanesque design. a really similar piece had been carved on a different church carved twelve old ages earlier. The terminal of the Romanesque period flowed swimmingly into the new Gothic manner of sculpture work. While it continued the â€Å"tradition of Romanesque sculpture. but it changed in its iconography †¦ be givening towards a didactic representation of the most of import individuals and scenes in the Holy Scripture† . 9 Other common subjects are the 12 months and the marks of the zodiac. angels and saints. Gothic architecture took the already bing Romanesque architecture and channelled this into a more comprehensive and deliberate work of art with the ability to touch any single that gazes upon her art and for persons who understand Gothic sculpture have a deeper grasp. The facade at Notre Dame Cathedral has three magnificent room accesss. and above the Centre room access is a great word picture of Christ created utilizing a Gothic sculpture manner. Jesus is standing surrounded by an bird of Jove. bull. king of beasts and a winged adult male. Visitors are able to bask this work for its quality although those who understand the piece realise that the bird of Jove represents Saint John. the bull represents Saint Luke. the king of beasts represents Saint Mark and the winged adult male represents Saint Matthew. Gothic and Romanesque architecture dominated the in-between ages used to make brilliant churches. temples and palaces considered to be plants of art. Romanesque architecture evolved into Gothic architecture during the twelfth century. While these two types of architecture sometimes overlapped during the transitional period. Gothic and Romanesque architecture are like chalk and cheese when you examine themclosely. From the inventiveness of the design. the temper and feel of the inside. the ocular consequence of the outside and the beautiful sculpture work. Gothic architectures used all of the available engineerings available to them. so they were able to make constructions that Romanesque architectures could merely woolgather of. These new design methods meant that the interior temper has besides morphed ; Romanesque architecture had a moist and dark temper which evolved into the bright and ask foring Gothic architecture. Sculptures went from being monstrous figures in Romanesque architecture to a more defined and meaningful work of art in Gothic architecture. These two different manners of architecture may be different nevertheless they are still both rather capable of animating persons which means that they will be a finish for pilgrims and tourers for the old ages to come. BibliographyBrowne. Edith A. Romanesque Architecture ( Kessinger Publishing. 2005 ) Frankl. Paul. Gothic Architecture ( Yale University Press. 2000 ) Groce. Jenae. An Introduction to Gothic Architecture ( World Technologies. 2012 ) Morey. Charles R. . The Beginning of Romanesque Sculpture ( College Art Association. 1919 )

The development process in Sweden reflects the success and efficiency Essay

The development process in Sweden reflects the success and efficiency of the fiscal policies of the government - Essay Example The United Nations Development Program has developed several indicators to assess and analyze the economic and employment status of the various countries of the world. The HDI and the HPI are examples of the human development indicators that are developed to give a notion about a country’s economic variables, such as poverty, human development, and unemployment. However, those indicators are not fully informative because they sometimes disregard some of the important criteria of development. For example, an HDI or an HPI of a certain country may not take into account the economic gap between the various sectors of the society of that country. In other words, there may be discrepancy between human development indicators and other indicators of poverty distribution, such as the Gini coefficient and the Lorenz curve. Thus, in this research paper, the development process in Sweden will be deeply analyzed, using the UNDP development indicators in addition to the other economic indi cators. In order for the analysis of development in Sweden to be clear and objective, it will be compared to the development processes in other countries, from various continents. ... , Africa, Central Europe and South Asia: Egypt Life expectancy at birth (years) (HDI), 2002 70.7 Adult literacy rate (% ages 15 and above) (HDI), 2002 91.0 GDP per capita (PPP US$) (HDI), 2002 3,580 Education index 0.85 Human development index (HDI) value, 2002 0.735 HDI Rank 120 Human poverty index (HPI-1) Rank 20 Human Poverty Index (HPI-1) Value (%) 12.0 Paraguay Life expectancy at birth (years) (HDI), 2002 70.7 Adult literacy rate (% ages 15 and above) (HDI), 2002 91.6 1 GDP per capita (PPP US$) (HDI), 2002 4,610 Education index 0.85 Human development index (HDI) value, 2002 0.751 HDI Rank 89 Human poverty index (HPI-1) Rank 15 Human Poverty Index (HPI-1) Value (%) 10.6 Mozambique Life expectancy at birth (years) (HDI), 2002 38.5 Adult literacy rate (% ages 15 and above) (HDI), 2002 46.5 GDP per capita (PPP US$) (HDI), 2002 1,050 Education index 0.45 Human development index (HDI) value, 2002 0.354 HDI Rank 171 Human poverty index (HPI-1) Rank 89 Human Poverty Index (HPI-1) Value (%) 49.8 Sweden : Life expectancy at birth (years) (HDI), 2002 80.0 Adult literacy rate (% ages 15 and above) (HDI), 2002 .. 1 GDP per capita (PPP US$) (HDI), 2002 26,050 Education index 0.99 Human development index (HDI) value, 2002 0.946 HDI Rank 2 Human poverty index (HPI-2) Rank 1 Human poverty index (HPI-2) Value (%) 6.5 Thailand Life expectancy at birth (years) (HDI), 2002 69.1 Adult literacy rate (% ages 15 and above) (HDI), 2002 92.6 GDP per capita (PPP US$) (HDI), 2002 7,010 Education index 0.86 Human development index (HDI) value, 2002 0.768 HDI Rank 76 Human poverty index (HPI-1) Rank 22 Human Poverty Index (HPI-1) Value (%) 13.1 Therefore, from the above tables, one can get an idea about some important development indicators, such as GDP, life expectance, and adult illiteracy.

Corporate Social Responsibility and its Importance in the Retail Essay

Corporate Social Responsibility and its Importance in the Retail Sector - Essay Example As the report explores the very core purpose of any business, besides sustenance and profitability, happens to create and keep adding value for the customers. A retail chain in particular needs to take into account the changing needs and requirements of the customers, depending upon the changing environment, food habits, time management, availability of alternates in the market, increasing awareness about environmentally friendly goods and services etc. This way they can earn the loyalty of the customer while successfully attracting more customers. Customer’s reaction to the product/ services is largely based on the customer’s feelings, which are subjective in nature. This discussion declares that Retail Business requires managing a broad range of retail skills in the areas of customer sales and service, promotion & advertising, store layout, visual merchandising, economics & accounting, marketing, buying from suppliers, inventory control, and human resource management. As the marketing and industrial activities are growing around the world, imbalance in many forms is on an increase, which is threatening the very existence of the social fabric that we live in. In order to protect the social fabric, the nature and the interests of human beings, companies, organizations and individuals are supposed to take care of their social responsibilities in different measure. Companies in retail sector being in direct touch with the customers and the society often find it obligatory on their part to take care of the social needs as well.... Retail Business requires managing a broad range of retail skills in the areas of customer sales and service, promotion & advertising, store layout, visual merchandising, economics & accounting, marketing, buying from suppliers, inventory control, and human resource management. As the marketing and industrial activities are growing around the world, imbalance in many forms is on an increase, which is threatening the very existence of the social fabric that we live in. In order to protect the social fabric, the nature and the interests of human beings, companies, organizations and individuals are supposed to take care of their social responsibilities in different measure. Companies in retail sector being in direct touch with the customers and the society often find it obligatory on their part to take care of the social needs as well. Though it is not obligatory on an organization that it should come forward to help out the society, but in order to reach out to the customers, earn the g oodwill of existing as well as prospective customers, and to be seen as an organization indulging in ethical business practices, companies do come forward to help the society and fulfil their corporate social responsibilities. Research Questions and Objectives This study is primarily being undertaken to study the corporate social responsibility aspect in general and the manner in which retail sector is fulfilling its social responsibilities. During the study an effort would be made to study some of the reputed retail sector companies like Tesco, Marks & Spencer, Primark, Wal-Mart etc. While broadly analysing their business proposition and market share an effort would be made to sift through the corporate responsibility statements and activities being taken

The effects of Behaviour Management on Teaching and Learning in Essay

The effects of Behaviour Management on Teaching and Learning in Secondary Education - Essay Example It has been fundamentally inspired by this virtue of behaviour management that it has today emerged as one of the major elements adopted by teachers in the pedagogy education system with the intention of improving the behaviour of learners (Rogers, 2007, p. 1-27). Notably, as pedagogy deal with young minds which are again attributed with high instability and curiosity, making the learners focused on a particular subject becomes a noteworthy challenge. Hence, teachers can be benefitted by obtaining better control on the behavioural traits of the learners which can assist in motivating the students to enhance their behavioural skills and consequently, build their future career prospects. However, the application of behaviour management initiatives is subjected to various factors among which the learning environment is often argued as one of the most crucial elements (Fields, 2004, p. 4-8). As argued by Rogers (2007, p. 1-27), an effective learning environment needs to be developed with the aim of conveying the rights as well as the responsibilities that are necessary for generating better disciplined school and classroom atmosphere and therefore implementing effective behavioural management strategies. It is in this regard that teachers, when applying the theories of modern pedagogy, attempt to introduce as well as execute certain developing and disciplinary programs for the purpose of motivating the learners to develop behavioural traits, appropriate for their promising future (Rogers, 2007, p. 1-27). As can be observed, the major objective of behaviour management is to ensure that the learners are able to acquire appropriate qualities and knowledge in accordance with which they will be able to determine the differences between pessimistic and optimistic influencing factors. Along with developing the behavioural skills of learners, it is also essential that the teachers are equipped with effective behavioural factors in order to ensure that they are able to impa rt appropriate educational knowledge and develop their skills successfully to the desired level. Additionally, it has also been often argued that with the help of behavioural management, teachers can develop the perceptions as well as influence the conscience of the learners which can further contribute towards minimising the involvement of those learners in conducting any sort of anti-social activities (Rogers, 2007, p. 1-27). In other words, with the help of behavioural management, learners’ behavioural traits can be developed in a more responsible as well as conscious way. With this concern, this paper intends to discuss the importance of behaviour management. Moreover, the effects of behaviour management on teaching as well as learning will be taken into concern. In this regard, the effects of behaviour management will be analysed by considering certain important reports like Steer and Taylor Reports among others. Focus of Behaviour Management In the context of education system, behaviour management is often viewed to be an important practice and discipline for the development of positive attitudes, skills and behaviours of students or learners. This particular aspect is recognised to be dependent on various values as well as aims according to which the learning programs and policies are formulated

Dont Mistake Legibility for Communication Analysis

Dont Mistake Legibility for Communication Analysis CRITICAL STUDY IN ART DESIGN DONT MISTAKE LEGIBILITY FOR COMMUNICATION David Carson | Discuss It is the art director, graphic designer and surfer David Carson (b. 1954) who stated during his 2013 TED Talk, Dont mistake legibility for communication. Since making this statement, designers have had to rethink what it means to communicate; especially when attempting to interact and engage with their target audience. However, is Carsons statement true? As it can be argued that legibility is the basis for something to not only be readable but also understood and therefore communicated. Conversely, if communication is the goal then the aim is more than just making something legible. Therefore, this discussion will explore and present arguments for and against the statement Carson made, define and explain the terms legibility and communication, and to document the social and historical context behind Carsons statement to establish whether it was valid or not. To begin, when something is being communicated it can be received by the audience visually, verbally, nonverbally or in its written form. The field of a Graphic Designer is visual communication as they attempt to incorporate, or least infer these elements through their designs. For that reason, visual communication or more specifically, production in print, will be the focus for this discussion as that is what Carsons statement pertains to. In regards to Carsons statement, the word legibility is mentioned. This word can be simply defined as how recognisable individual letterforms are (Tselentis, J et al. 2012 p. 324). In a segment of Carsons 2003 Design And Discovery TED Talk, he presents the following image with his statement: Carson then goes on to say the following about his image (Figure 2) and gives his opinion about the statement in regards to legibility and communication, where he states, I like this [image] for a couple of reasons. If youve had any design courses, they would teach you cant read this. I think you eventually can and, more importantly, I think its true. Dont mistake legibility for communication. Just because somethings legible doesnt mean it communicates. More importantly, it doesnt mean it communicates the right thing (Carson 2003). As Carson suggests (2003) the primary goal of the designer is to communicate a message. However (in his own words) more importantly, it is to communicate the right thing. The question to then be considered is to ask what communication is in the first place? John DiMarco (b. 1963) in his book Digital Design For Print and Web (2010) explains that communication is a process, in which, . requires a sender (the designer), a message (information or an effort to persuade), a medium (the delivery platform), and a receiver of that message (the audience). Here, it can be understood that during the communication process it is the designers job to send a message. DiMarco (2010) then states that, the goals of such messages are to inform, to persuade, to educate, or to entertain.ÂÂ   The designer having a communication goal in mind then uses the message and medium to reach their audience. Bearing this all in mind, we are then left to ask why is communicating the right thing so important to Carson? In the 2007 Helvetica documentary, Carson states, Dont confuse, legibility with communication. And just because somethings legible, doesnt mean it communicates, and more importantly doesnt mean it communicates the right thing. And vice versa. If something is a very important message, and its said in a boring, nondescript way, then the message can be lost (Carson 2007). The goal for Carson then seems to be that is must communicate the right thing otherwise known as effective communication. The message cannot be lost through the medium. Which would then leads to the message not being received by the anticipated audience. Nevertheless, what is effective communication and how does it differ from regular communication? The difference seems to lie in the way something is communicated. It can be argued, (as Carson seems to) therefore, that this is just as important, if not more important than the content of the message itself. This point is noted by Art Director and Graphic Designer Kaitlyn Wells (b. 1988) who suggests (2011) to communicate does not mean the designer has to send a message which is merely legible. As for Wells, legibility in itself does not equate to communicating effectively. In her blog post Dont Mistake Legibility for Communication Wells writes, Just because you can read it, doesnt mean it is communicating the intended message. David Carson is famous for his crazy typography and his ability to connect emotion, design and key messages in an effective, impactful way.ÂÂ   Some of it is legible, some of it is not, but all of it delivers a message (Wells 2011). Here, Wells makes the distinction between legibility and effective communication, noting how important it is to make sure that the audience actually receives the message through the emotion behind it and not just the content of the message itself. For Carson, it is not sufficient for something to merely be legible, as it is only one of the potential tools that can be used to achieve the end goal of communicating a message. Carson seems to be able to attract his intended audience in such a way that he not only gets his message across but manages to emotionally connect and engage with them as well. In The Emotion Thesaurus (2012)Ackerman and Puglisi state that the sole reason people pick up a printed production is . to have an emotional experience. They read to connectIt can be argued that this is the same communication goal of Carson too. This can be further demonstrated through some examples of Carsons designs in the Ray Gun publication (1992) which Carson was the art director of: According to DiMarco (2011), after Carson was appointed Art Director for the Ray Gun publication its circulation tripled, emphasising the effectiveness of Carsons designs. DiMarco then states that the magazine was created as an anti-glossy, anti-establishment manifesto that became a synonym of rock roll, rebellion and alternative spirit. This was the audience that Carson was attempting to reach. Therefore, the layout design needed to not only reflect this but to find a way to effectively communicate and connect with his audience as well. In Carsons TED Talk he speaks about the following car garages (see figure 6): Here Carson points out that the two car garage doors displayed (see Figure 6) are both legible and communicate the same message. However, the way the message is communicated is different. As it can be seen that the garage to the left is legible and the message is clear NO PARKING. Stylistically the way that this message has been presented would likely be seen as generic, informative and neutral. Conversely, it could be argued that the garage to the right gives the reader a different feel as the message would likely be interpreted in a different manner to the garage on the left. As the garage to rights with its NO PARKING message has a bold and humanistic style which seems to give it a different tone to the intended viewer. Although it could be argued that this is unintentional the feeling seems to persist nevertheless. The underlining of the same NO PARKING message seems to emphasise the gravity of what is being communicated. All of these stylistic elements add to the way the message is intended to be received by transmitting through the text the emotion of the message. Moreover, other examples of text being written in capitals tend to convey the emotion of anger and often transmits the message of somebody shouting; which in both cases demands that the message being communicated is to be taken seriously as it has been delivered in a direct and effective manner. Carson (2003) himself then goes on to explain about the garage doors in the following way, Im a big believer in the emotion of design, and the message thats sent before somebody begins to read, before they get the rest of the information. That area of design interests me the most. These are a couple of garage doors painted identical, situated next to each other. So, heres the first door. You know, you get the message. You know, its pretty clear. Take a look at the second door and see if theres any different message. O.K, which one would you park in front of? Same colour, same message, same words. The only thing thats different is the expression that the individual door-owner here put into the piece and, again, which is the psycho-killer here? Yet it doesnt say that; it doesnt need to say that. I would probably park in front of the other one (Carson 2003). For Carsons own designs, it seems his focus is on the way he communicates his message. Carson appears to designs his layouts intuitively to create a visceral reaction and response. His designs must connect with his audience emotionally for them to be effective and even if the content of the message cannot do this alone then the way the message has been designed will help the communication process of achieving Carsons communication goal. This can be seen in his designs for The Book Of Probes by Marshall McLuhan. Whilst it may seem that Carsons statement cannot be refuted there have been those that have done so. One example of someone that has vehemently disapproved Carsons methodology, is design writer Joe Clark. In his article titled Illegible David Carson cannot communicate originally published in the Globe and Mail (1995), Clark writes that, Typography is supposed to be invisible. If the intended reader actually notices the typography and graphic design on a page, then youve failed as a designer. The goal of communication is achieved only when typography does not distract (Clark 1995). This line of thinking was influenced from Beatrice Wardes (b. 1900) lecture titled, The Crystal Goblet, or Why Printing Should Be Invisible (1930). Both Clark and Wardes focus is on the content of the message and that the legibility of the message detracts from what is trying to be communicated. Otherwise, the message can be distorted where the information that is trying to be communicated is not what was originally intended. DiMarco (2011) notes how Carson, broke the rules in every way. including negative leading, overlapping, layering, and creating absurd compositional layouts, such as backwards text settings and columns of texts that bled off the page or aligned or overlapped each other. This can be seen in below (figure 8). In Noah Reads article (2009) in regards to Wardes lecture he notes that, Warde asserts that the purpose of written text is thought transference and any type that does anything to distract from that goal is a failure in its purpose. Type is there to illuminate the thoughts and ideas contained in the written word (Read 2009). Here, Read highlights how Warde deems anything that detracts from the content of the message to be a failure in its purpose. In relation to Carson, this would be a failure in his attempt to communicate with his audience. For Warde, the text used in the message should only be implemented to aid the content and the content alone. However, as mentioned earlier, Carson has demonstrated that he arranges the type to effectively communicate rather than to merely share the content alone. For Clark, in his article he rebuked the Ray Gun publication by noting that, Every single typesetting rule of thumb you could possibly come up with has been broken in Ray Guns brief history: Overlapping blocks of copy; light text against dark backgrounds; dark text against dark backgrounds; running text across pages, including stories that are read horizontally across columns (just hop over the gutter between them); deliberately running photos upside-down (Clark 1995). For Clark it seems as if he felt Carsons, Dont mistake legibility, for communication statement was taken to the extreme where because both the message was legible and the audience could misinterpret its intended point too through the way it was designed; then for Clark surely the communication and intended message failed, as the design was illegible in its content and missed the mark in its execution. However, this assertion of Clarks is subjective at best and judging by the sales of the Ray Gun magazine it is presumptive at worse because as mentioned before the publication sold many copies to those prior to Cason design. Additional to this point, it was the philosopher and Professor Marshall McLuhan (b. 1911) who wrote in his book Understanding Media: The Extensions of Man (1964) that, the medium is the message. By this, he meant that it is the form of the medium, not the content of the message or even the message itself that is most important. An example, which could argue how Carson supports this theory is where he employs a similar idea into one of his articles for the Ray Gun magazine publication where he uses the Zapf Dingbat typeface. In regards to Carson using the Zapf Dingbat typeface, he states in an interview with Design Boom (2014) that it was one of his favourite briefs. During the interview he shares, We had a new writer from a much bigger music mag, and I was really excited to read this article when it came in. but I was really disappointed to find it was like sooo many others: the writer had been given 10 minutes before the performer went on stage to do his entire interview, and as such he reported the typical stuff like what the singer was wearing, what was in the room etc. boring stuff Id read so many times before. I started going through my fonts, finding nothing that felt right, then came across dingbat. Which would have been the last one on my very extensive list, as its known by the designers name zapf dingbats. Im sure I chuckled a bit, then thought, well, why not? It was a really boring article. So the entire article was set in zapf dingbat (Design Boom 2014). This exemplifies that for Carson communicating his work was more than using words alone but even the piece itself could be communicated through the medium rather than with merely the content. Especially if the content served no purpose in taking the reader on an emotional journey It could be inferred that the purpose the Zapf Dingbat that was to do precisely that to bring excitement, joy and humour to what would have been a boring, dull tedious article. David Carsons statement (2003) Dont mistake legibility for communication is both challenging and thought-provoking. As stated beforehand, not all designers would agree with Carsons evaluation of effective communication. As Carsons statement seems paradoxical at first but when understood in its proper context it appears to be congruent when seen in light of his work. However, when compared with traditional teachings and lectures as to how typography in publications should be treated, it can be argued that the designer could fail in making his or her work both illegible and even worse this may lead to the message of the designer not communicating its desired effect too. Nonetheless, to confine communication to only being something that can be achieved through legibility in content only takes away from what effective communication can be. Taking this into consideration, despite his critics and given his numerous supporters, it is still justifiable to argue that Carson has made a salient point in the Graphic Design world; as it is still relevant today as it was when he first stated it. Consequently, it can be strongly argued that it renders Carson statement, Dont mistake legibility for communication as valid. Reference List Books Tselentis, J., Haley, A., Poulin R., Seddon T., Leonidas G., and Saltz I. (2012) Typography, Referenced: A Comprehensive Visual Guide to the Language, History, and Practice of Typography. Beverly, MA: Rockport Publishers. DiMarco, J. (2010) Digital Design for Print and Web: An Introduction to Theory, Principles, and Techniques. Hoboken, New Jersey: John Wiley Sons. Ackerman A., and Puglisi B. (2012) The Emotion Thesaurus: A Writers Guide To Character Expression. Seattle: CreateSpace Independent Publishing Platform. Websites Wells, K. (2011) Dont Mistake Legibility For Communication. Available at: http://www.stokefire.com/2011/06/dont-mistake-legibility-for-communication/ (Accessed: 15 December 2016) Clark, J. (2011) Illegible David Carson cannot not communicate. Available at: http://joeclark.org/design/davidcarson.html (Accessed: 13 February 2017) DiMarco, D (2011) David Carson. Available at: http://www.csun.edu/~pjd77408/DrD/Art461/LecturesAll/Lectures/PublicationDesign/DigitalTimes/Davidi-Carson.html (Accessed: 12 February 2017) Noah, R (2009) Graphic Design Theory: The Crystal Goblet. Available at: https://noahread.net/blog/graphic-design-theory-the-crystal-goblet (Accessed: 12 February 2017) Design Boom (2014) Interview with Graphic Designer David Carson. Available at: http://www.designboom.com/design/interview-with-graphic-designer-david-carson-09-22-2013/ (Accessed: 12 February 2017) TED Talks Carson, D. (2003) David Carson: Design and discovery. Available at: http://www.ted.com/talks/david_carson_on_design (Accessed: 21 November 2015) DVD Helvetica (2007) Directed by Gary Hustwit [DVD]. London: Plexi Film. Image List Figure 1 : David Carson: (2004) Design Indaba Speaker [Profile Picture]. Available from: http://www.designindaba.com/profiles/david-carson (Accessed: 3 December 2016) Figure 2. Dont mistake legibility for communication: Thomas, C. (2013) Legibility Vs Communication in Design David Carsons point of view. [Ted Talk]. Available from: https://postmodernmovieposter.wordpress.com/2013/12/30/legibility-vs-communication-in-design-david-carsons-point-of-view/ (Accessed: November 26 2016) Figure 3. Communication Process: Bowers, J. (2006) A Communication Model. Available from: http://www.jerf.org/writings/communicationEthics/node4.html (Accessed: February 12 2017) Figure 4. Cold Sweat. Carson, D. (1989) David Carson. Available from: http://www.davidcarsondesign.com/ (Accessed: February 12 2017) Figure 5. Ray Gun magazine designs. DiMarco, J. (2011) David Carson. Available from: http://www.csun.edu/~pjd77408/DrD/Art461/LecturesAll/Lectures/PublicationDesign/DigitalTimes/Davidi-Carson.html (Accessed: February 12 2017) Figure 6. NO PARKING: Thomas, C. (2013) Legibility Vs Communication in Design David Carsons point of view. [Ted Talk]. Available from: https://postmodernmovieposter.wordpress.com/2013/12/30/legibility-vs-communication-in-design-david-carsons-point-of-view/ (Accessed: November 26 2016) Figure 7. Book Of Probes. Carson, D. (2002) David Carson. Available from: http://www.davidcarsondesign.com/ (Accessed: February 12 2017) Figure 8. Breaking The Rules. DiMarco, J. (2011) David Carson. Available from: http://www.csun.edu/~pjd77408/DrD/Art461/LecturesAll/Lectures/PublicationDesign/DigitalTimes/Davidi-Carson.html (Accessed: February 12 2017) Figure 9. Breaking The Rules 2. DiMarco, J. (2011) David Carson. Available from: http://www.csun.edu/~pjd77408/DrD/Art461/LecturesAll/Lectures/PublicationDesign/DigitalTimes/Davidi-Carson.html (Accessed: February 12 2017) Figure 10. Dingbat. DiMarco, J. (2011) David Carson. Available from: http://www.csun.edu/~pjd77408/DrD/Art461/LecturesAll/Lectures/PublicationDesign/DigitalTimes/Davidi-Carson.html (Accessed: February 12 2017) Bibliography Books Meggs, P (2011) Meggs History of Graphic Design. 5th edn. Hoboken, New Jersey: John Wiley Sons, Inc. Kunz, W. (2004) Typography: Formation and Transformation: Introduction to Typographic Process. Salenstein: Braun Publisher. Lupton, E (2010) Thinking With Type: A Critical Guide for Designers, Writers, Editors, and Students. 2nd edn. New York: Princeton Architectural Press. Craig J., Bevington W., and Koral Scala I. (2006) Designing with Type: The Essential Guide to Typography. New York: Watson-Guptill Publications Inc. Tselentis, J., Haley, A., Poulin R., Seddon T., Leonidas G., and Saltz I. (2012) Typography, Referenced: A Comprehensive Visual Guide to the Language, History, and Practice of Typography. Beverly, MA: Rockport Publishers. Armstrong, H. (2009) Graphic Design Theory: Readings from the Field. New York: Princeton Architectural Press. DiMarco, J. (2010) Digital Design for Print and Web: An Introduction to Theory, Principles, and Techniques. Hoboken, New Jersey: John Wiley Sons. Ackerman A., and Puglisi B. (2012) The Emotion Thesaurus: A Writers Guide To Character Expression. Seattle: CreateSpace Independent Publishing Platform. Websites Bradley, S. (2010) Legibility And Readability In Typographic Design. Available at: http://vanseodesign.com/web-design/legible-readable-typography/ (Accessed: 30 November 2015) Thomas, C. (2013) Legibility Vs Communication in Design David Carsons point of view. Available at: https://postmodernmovieposter.wordpress.com/2013/12/30/legibility-vs-communication-in-design-david-carsons-point-of-view/ (Accessed: November 26 2016) Clark, J. (2011) Illegible David Carson cannot not communicate. Available at: http://joeclark.org/design/davidcarson.html (Accessed: 13 February 2017) Wells, K. (2011) Dont Mistake Legibility For Communication. Available at: http://www.stokefire.com/2011/06/dont-mistake-legibility-for-communication/ (Accessed: 15 December 2016) DiMarco, D (2011) David Carson. Available at: http://www.csun.edu/~pjd77408/DrD/Art461/LecturesAll/Lectures/PublicationDesign/DigitalTimes/Davidi-Carson.html (Accessed: 12 February 2017) Noah, R (2009) Graphic Design Theory: The Crystal Goblet. Available at: https://noahread.net/blog/graphic-design-theory-the-crystal-goblet (Accessed: 12 February 2017) Design Boom (2014) Interview with Graphic Designer David Carson. Available at: http://www.designboom.com/design/interview-with-graphic-designer-david-carson-09-22-2013/ (Accessed: 12 February 2017) Lynda Adams, S. (2014) Foundations of Graphic Design History. Available at: http://www.lynda.com/Design-Color-tutorials/American-corporate-identity/166781/363080-4.html (Accessed: 24 November 2015) Saltz, I. (2013) Foundations of Typography. Available at: http://www.lynda.com/Design-Typography-tutorials/Foundations-Typography/106698-2.html (Accessed: 29 December 2015) YouTube Carson, D. (2012) David Carson: David Carson Techniques in Design. Available at: https://www.youtube.com/watch?v=f1pQTuJfUi8 (Accessed: 21 November 2015) Puschak, E. (2015) Atemporality: Our Relationship To History Has Changed. Available at: https://www.youtube.com/watch?v=ZAv5EKvRrco (Accessed: 02 January 2017) TED Talks Carson, D. (2003) David Carson: Design and discovery. Available at: http://www.ted.com/talks/david_carson_on_design (Accessed: 21 November 2015) DVD Helvetica (2007) Directed by Gary Hustwit [DVD]. London: Plexi Film.

UK Institutions Promoting Health of Ethnic Minority Women Essay

This essay intends to give a critical analysis of interagency working to promote the health of ethnic minority women suffering from domestic violence. The essay starts with a definition of health and then briefly looks at varying definitions of public health and how these definitions lend credence to need for interagency working in public health. The essay then looks at the social construct of community and minority communities (BME) in England and Wales, health inequalities and the geographical spread of inequalities across areas of deprivation and the spearhead authorities with a brief discussion on the social determinants of health. This will be followed by a definition of domestic violence and how the concept of culture, especially in minority communities impacts on domestic violence and how domestic violence among ethnic minority women relates to public health. There will be a discussion on two models of health that can be used to formulate interventions which are relevant to th e needs of ethnic minority. The last part of the essay will discuss the role organisations can play to support victims of domestic violence and how the structure and culture of the organisation can influence positive outcomes and enhance better interagency working. Finally, a critical analysis of interagency working will be given suggesting how services can be improved. Public Health Health as defined by the world health organisation is â€Å"a state of complete physical, mental, and social wellbeing and not merely the absence of disease or infirmity (Bury 2005). According to the world health organization, â€Å"health is a state of complete physical, mental and social well-being and not merely the absence of disease or infirmity† (WHO, 1948). The term publi... .... The Journal of Law, Medicine & Ethics, 30: 144–149. doi: 10.1111/j.1748-720X.2002.tb00381.x Rhonda, P. and Pittman, R. (2009) an introduction to community development USA: Routledge. Blaxter, M. (2004) health, Cambridge: polity press. Department of Health (2004) Tackling health inequalities: the spearhead group of Local Authorities and Primary Care Trusts Bartle, Phile WHAT IS COMMUNITY? A Sociological Perspective web publication available online at http://www.scn.org/cmp/whatcom.htm NIMHE (2003) Inside-Outside: Improving Mental Health Services for Black and Minority Ethnic Communities in England Roger Ottewill and Ann Wall (2004) Item 2 Models of health and health care available online at https://www.ihm.org.uk/documents/Education/mhsc_resource_file/diploma_managing_your_enterprise/Diploma_managing_your_enterprise_models_of_health_and_health_care