Sensory Details Essays - Transport, Land Transport, Economy Of Japan

Sensory Details Original sentence: The car landed awkwardly, causing it to roll. New sentence: The small sedan landed sideways with enough momentum to flip it many times over, completely crushing the cabin and likely everything inside. New paragraph: John was on his daily commute to work in his Ford F-350, listening to classical music, jamming out on the interstate when he noticed something out of the ordinary. A tiny white toyota about 50 meters ahead of him began making very strange movements, swerving from side to side and nearly taking out the car in the adjacent lane. This swerving continued for some time, when suddenly the small sedan slammed into the guardrail soaring high above the median and into the opposing lanes. The car landed sideways with enough momentum to flip it many times over, completely crushing the cabin and likely everything inside. John immediately crossed the grassy area between the opposite lanes of the highway to do whatever he could to help, and as he put his truck in park he jumped out and ran to the scene of the crash, crossing over the highway. As he ran he noticed some movement inside what was left of the toyota. A little girl stumbled out of the car, having miraculously survived the wild crash. "H uh...I don't think she has her license." John thought to himself.

A New Kind of Revolution essays

A New Kind of Revolution essays The British were trying to run a stable colonization. The British Parliament made many acts and taxes for their daughter colonies to bring in revenue from their new territory. However, being thousands of miles away from its daughter country, the colonies became difficult to control and the colonists started to defy the mother country. A New Kind of Revolution, by Carl Degler brings out that more than one single thing started the colonists revolution. This can be seen through the many acts put on the colonists, Britains salutary neglect, and Britishs shortening patience towards the rebelling colonists. With so many acts put on the colonists it became unfair. Many colonists protested that this was wrong because it was taxation with out representation. Other colonists felt that it was right for the mother country to tax them, but they were overusing the tax and that the mother country is using the colonists to satisfy their own pockets. Over the years this repetition of taxing a nd overusing the acts deeply frustrated the colonists. Secondly, Britishs salutary neglect towards the colonists became the colonists first taste of freedom. During the successive wars with Holland and France, Britain tended to neglect the colonies. This gave the colonists a little more freedom and a sense of independence because the British lacked attention towards the colonies. When the British started back at laying a heavier hand on the colonies, the colonies sternly objected. The neglect from the mother country gave the colonists a taste of independence and the colonies got used to that and they wanted more. Finally, with the many rebellious acts of some of the colonists, Britishs patience was running short. From Peter Zenger to the Boston Tea Party, Britains patience was being tested. With all these defying actions, the Parliament would slam down more and more s ...

Colonial Rule in Peru

Colonial Rule in Peru In 1533 Francisco Pizarro, a Spanish conquistador, colonized Peru in order to gain power and westernize the country, changing the dynamics of the land completely. Peru was left decimated, as the Spanish bought diseases with them, killing over 90% of the Inca population. Who Were the Incas? The Incas arrived in 1200 CE, an indigenous group of hunters and gatherers, consisting of Ayllus, a group of families controlled by a Chief, called Curaca. Most Incas did not live in cities as these were used for government purposes, only visiting on business or for religious festivals as they were extremely religious. The Incas economy can be considered prosperous as Peru contained mines producing luxuries like gold and silver and they had one of the most powerful armies at this time, using numerous weapons and recruiting every male capable of military service. The Spanish conquered Peru, with the aim to westernize the country, changing the dynamics of the land completely, similar to the intentions of the other colonial powers during the era of exploration and colonization. In 1527 another Spanish explorer commanding a Spanish ship, saw a raft with 20 Incas on board, was amazed to discover numerous luxuries, including gold and silver. He trained three of the Incas as interpreters as he wished to report his findings, this led to Pizarros expedition in 1529. The Spanish Quest The Spanish were eager to explore, allured by the prospect of a rich country. For some, like Pizarro and his brothers, it enabled them to escape from the impoverished community of Extremadura, in Western Spain. The Spanish additionally wished to gain prestige and power in Europe, previously conquering the Aztec Kingdom, Mexico in 1521 and started to conquer Central America in 1524. During his third expedition to Peru, Francisco Pizarro conquered Peru in 1533 after executing the last Inca Emperor, Atahualpa. He had been aided by a civil war occurring between two Incan brothers, sons of a Sapa Inca. Pizarro was assassinated in 1541 when Almagro was made new Peruvian Governor. On 28th July 1821, Peru became independent from colonial rule, after an Argentinian soldier, called San Martin, conquered the Spanish in Peru. Spanish colonization led to Spanish becoming the main language in Peru. The Spanish altered the countrys demographics and left their mark, for example, the Spanish coat of arms still remains a symbol for Peru after being given it by Spanish King Charles 1 in 1537. At What Price?   The Spanish brought diseases with them, killing numerous Incas including the Inca Emperor. The Incas caught malaria, measles, and smallpox as they had no natural immunity. N. D. Cook (1981) showed Peru encountered a 93% population decrease as a result of Spanish colonization. However, Incas did pass syphilis onto the Spanish in return. The diseases killed vast amounts of the Inca population; more Incas dyed from diseases than on the battlefield. The Spanish also accomplished their aim to spread Catholicism in Peru, with about four-fifths of the population of Peru today as Roman Catholic. Perus education system now includes the whole population, differing from focusing on the ruling class during colonial rule. This benefited Peru greatly, now having a 90% literacy rate, contrasting to the illiterate and poor Incas during Spanish rule, therefore not capable of advancing as a country. Overall, the Spanish succeeded in their aim to change Perus demographics completely. They forced the Catholic religion on Incas, remaining the same today and keeping Spanish as the main language. They killed vast amounts of the Inca population due to diseases from Europe, destroying the Inca population and used racial tension to create a hierarchy system with the Incas at the bottom. The Spanish also influenced Peru greatly as they gave it its name, originating from a misunderstanding of the Indian name of river.

Truth Essay Example | Topics and Well Written Essays - 500 words

Truth - Essay Example One might wonder what the truth was for Alexander the great when he set out to conquer the world For Socrates when he allowed himself to be taken For Galileo when he faced persecution at the hands of the Church For the Allied Forces during World War 2 For the Nazis at Nuremberg and for the terrorists who flew their planes into the twin towers If there existed no variation in the meaning and perception of truth, the world today would have been a different place-maybe for the better. The idea of truth therefore remains a moot point, for socialists and monarchs for lord and serf and for warrior and philosopher. The pragmatic would dismiss any poetic values attached to or stemming from the idea of truth; they would kill in an instant the spirit of freedom that truth may reverberate and would push away hope with the mere utterance of their dismal but intelligent sounding ideas. Alas, the supercilious don't pause to read the emotions attached to what may be described as truth or the struggle for it. Such a definition of truth seems to have been advanced by Michel Foucault in his essay2, where he most aptly describes a recipe that may be used to concoct truth; a connection is exposed here between truth and power deeming truth to be an earthly entity with nothing more than a dramatized and accepted creation.

Evaluate the career opportunities and challenges for a new Essay

Evaluate the career opportunities and challenges for a new practitioner in the film discipline - Essay Example It should be noted that the film industry have evolved majorly since 1880 and for nearly century and half it has become the main source of entertainment for the society (Rousseau 2012, p.132). The growth in the film industry has also led to the growth in the size; thus, the employment opportunities. The film industry has engulf numerous sectors due to the advancement in the technology and societal expectation thereby providing numerous job opportunities in line with acting, producing, directing, editing, special effect management, designing, and even adaption and translation (Hjort 2013, p.45). Other than acting, film discipline offers development in dram techniques that involves particularly fiction. Fiction is a human performance of theater. It is complex and combines numerous transitional elements to arouse feelings, ideas, as well as unique state of mind to the audients. Despite the career opportunities in filming industry, the industry also poses the numerous challenges; thus, t his easy aims at analyzing numerous career opportunities and challenges in the film profession. Career opportunities that practitioner of the film discipline varies with the interest line or profession that an individual is in interested to pursue. Despite the general introduction to the discipline, the practitioners may opt to specialize at different levels of study mainly in undergraduate or graduate levels. Some of the major career opportunities that filming for the practitioners includes animation, narrative, documentary, production, and screenwriting as well as dancing (Smith & Dean 2009, p.167). The studies of films and its related disciplines involve critical examination of theatre, film, music, dance, performance, and dramaturgy. Moreover, film production also requires the analysis of the performance of actors and film producers. Despite the career line of film studies, the field requires the studies of history of theatre, acting, dramatic theory and criticism,

Jazz Music between World Wars Essay Example for Free

Jazz Music between World Wars Essay The jazz craze in music during the 1920s reflected a general spirit of the times for many commentators like Seldes that this decade became known as the Jazz Age. Following World War I, jazz music certainly captured the popular imagination. The rapid popularity of jazz music led to its equally rapid spread among musicians. No other style up to this time in American popular music so quickly came to dominate popular performance. The American vernacular, which had already made significant inroads into the commercial popular music market, had captured popular tastes at an unprecedented level, seemingly sweeping aside the old â€Å"standards. † And just as ragtime and syncopated dance music became part of earlier commercial popular music, the dominance of jazz in the 1920s also represented a major triumph of the black vernacular in American popular music. The jazz craze began through the influence of non-professional musicians. While still marginal to most legitimate venues, non-professional musicians performing the jazz vernacular were attracting audiences to clubs, theaters, restaurants, and were popular in the speakeasies of the 1920s. They also had opportunities for their music to reach a broader audience in a booming record market following World War I. Professional musicians, however, quickly adopted jazz music in their orchestras and smaller bands. They co-opted the jazz fever while simultaneously distancing themselves from non-professionals. (Charters, 39-43) By occupying the most lucrative jobs in theaters, dance halls, hotels, and other venues, professional musicians positioned themselves as the premier interpreters of this new vernacular idiom in commercial popular music. The common defense of jazz as good music during the Jazz Age embraced the professional musicians and professional composers who performed and created jazz music, not the non-professional musicians who first introduced it. In adopting jazz idioms, professional musicians were simply continuing the process of cultivating the American vernacular. Black professional musicians were already adopting black vernacular idioms in their music making in earlier syncopated society orchestras and simply adopted jazz idioms as well as the name in their â€Å"jazz† orchestras. (Bushell, 72-75) White professional musicians had performed rags as part of their repertoire in the past, but with the jazz craze, many were quick to adopt syncopated dance and jazz practices in some form as the defining style of their profession. White professional musicians also quickly followed black professional musicians in transforming their bands into jazz orchestras, and just as quickly claimed to be the modern proponents of this new American popular music. Black and white professional jazz orchestras in the 1920s established the basic instrumentation, arrangement, and techniques of the big band dance orchestras that dominated American popular music until the 1950s. In the 1920s, an emerging new ideal of good music involved a balancing of the previous cultivated practices and cultivated music of professional musicians with popular vernacular idioms. The proper balance, however, was hotly debated. Professional musicians would constantly distance themselves from the pure vernacular of non-professional musicians. In defending their balance of the cultivated and the vernacular in popular performance, popular tastes, however, were demanding jazz music and a professional musician would be remiss to ignore his patrons in the popular music market as much as stodgy critics and some professional musicians would rail against the pernicious influence of jazz. Professional musicians in mediating the popular music market had to continue to navigate the moral, aesthetic, class, and racial construction of good music in America. While popular tastes in musical entertainment promoted the black vernacular in commercial popular music, the plight of the African American community in the United States continued to be dire. Some leaders in the black community had hoped that African Americans participation during World War I in both the military and in industry, and the Great Migration out of the Jim Crow South, would change their fortunes as segregated and oppressed second class citizens. The post-war years, however, dashed most hopes of any immediate positive change. (DeVeaux, 6-29) Race relations went in the opposite direction. Race riots sprung up across the nation while lynching continued to be a regular occurrence. Efforts continued to secure the legal segregation of black communities, and the labor movement continued to exclude blacks. The Ku Klux Klan reached its peak membership and popularity during the 1920s. The segregation and denigration of the black community was also reflected in the social organization of American music. (Hansen, 493-97) Besides the segregation of audiences and most venues, black professional musicians also remained outside the artistic community of white professional musicians in terms of unions, band organizations, and this communitys vision of a professional class of artist in America. The balance of the cultivated and the vernacular among professional musicians also continued to run against elitist conceptions of popular music and popular musicians as less legitimate than the music, musicians, and composers of the European cultivated tradition of classical and opera music. Black professional musicians also continued to strive to break through the barriers erected against them in the world of European cultivated music. This continuing tension in the implied lower status of professional musicians who performed American popular music erupted during the Jazz Age into an open rebellion against the European cultivated tradition. Professional musicians in jazz orchestras attempted to counter the singular role claimed by the European cultivated tradition. These musicians asserted that jazz was a true American or African American school of fine art music in contrast to cultivated European music – a populist appeal for high art legitimacy. This high art turn in American popular music, however, ultimately failed when the depression wreaked havoc on the popular music market. With the introduction of a new popular music market of live performances, records, broadcasts, and films, the quest for legitimacy among professional popular musicians would have to take another route. It was a period where professional popular musicians in adopting the jazz vernacular went against the reigning cultural hierarchy in America. (Peretti, 234-40) The period following World War I was a crucial turning point in American popular music. The American vernacular in general was storming the ramparts of the old edifice of good music as Tin Pan Alley song and dance dominated popular performance. Both professional and nonprofessional musicians also were benefiting from more affluent times and the growing importance of entertainment in the lives of most urban Americans. To the chagrin of elite and moral defenders of nineteenth century cultural idealism, most urban Americans were readily joining a Cultural Revolution in commercial popular entertainment. And at the center of this revolution was the national craze for jazz music and jazz dance. The jazz craze made syncopated rhythms and other black vernacular idioms central elements of American popular music making. While many small jazz bands performed a black vernacular style of music from the Delta Region of New Orleans, jazz music in the 1920s encompassed not only this style but syncopated dance music, blues music, piano rags, and virtually any tune jazzed up by musicians. The jazz craze in essence was the craze for the black vernacular among popular audiences and the performance of this vernacular in some form by popular musicians and popular singers both professional and non-professional. The extent to which musicians and singers actually adopted the black vernacular rather than a superficial imitation – critique later jazz critics would make of certain sweet jazz during the 1920s – is less important than the fact that jazz entered the consciousness of the nation and musicians as the reigning popular music. The word Jazz seems to have found a permanent place in the vocabulary of popular music. It was used originally as an adjective describing a band that in playing for dancing were so infected with their own rhythm that they themselves executed as much, if not more, contortions than the dancers. The popularity of the raggy music has created a demand for music with exaggerated syncopation, an attempt as it were to produce the wonderful broken rhythms of the primitive African jungle orchestra. The jazz craze also coincided with the growth of black entertainment. During the 1920s, black entertainment districts like the South Side in Chicago and Harlem in New York City witnessed a major boom. Besides entertaining the large black populations of The Great Migration, black musicians and singers were entertaining white audiences who went uptown for their entertainment. The boom in the 1920s in black entertainment, as Kenny (1993, 89-92) and Shaw (1987, 122-30) show, was driven by the demand for the black vernacular. In musical theater, musical revues, vaudeville, dance, and speakeasies, the black vernacular and black artists were in demand. This demand was met not only in black entertainment districts, but also outside these districts as black artists performed for white audiences in musical revues, dance halls, and clubs in white entertainment districts. The popularity of the black vernacular also increased when record producers discovered a race market in black music. Most members of the New England School of cultivated music like Mason, and other defenders of the old ideal of good music, were stridently against the influence of jazz in both popular music and classical music. Repeating the moral, aesthetic, class, and racial epithets used to condemn the popularization of vernacular jazz, the guardians of the old ideal ridiculed any idea of jazz meriting the status of high art or even having an influence on serious music composition and performance. As David Stanley Smith, Professor of Music at Yale University, argued in The Musician of August 1926, jazz musics â€Å"monotonous rhythm, as unvaried as the chug-chug of a steam engine, enslaves its practitioners within a formula, and induces in composer, performer, and listener a stupor of mind and emotion. † On the other hand, many of those individuals who embraced â€Å"modernism† in cultivated music were sympathetic to jazz music. These modernists emphasized jazz as the legitimate expression of the times and a nation. (Stewart, 102-109) The debate within the cultivated tradition between old idealists and modernists on the influence of jazz revolved mainly around the influence of popular jazz on serious music composition and performance. That the question would be posed in such a manner spoke to how, by the 1920s, the European cultivated tradition had organizationally and ideologically broken from the world of commercial popular music. Crossover between popular music and cultivated music occurred during the 1920s, but organizational and ideological barriers left little chance that jazz musicians would transform the cultivated tradition. The very formation of a separate world of cultivated music in the United States was predicated on its distinction from commercial popular music, popular musicians, and popular tastes – a distinction further exacerbated by jazz music being an expression of the black vernacular. The influence of jazz within the cultivated tradition, however, was debated during the 1920s as professional musicians laid claim to a truly American art form and modernists promoted the incorporation of jazz in serious music composition and performance. (Badger, 48-67) Traditionalists, of course, had reason to be optimistic as the economic depression following the 1929 stock market crash wreaked havoc on the commercial market of popular jazz music. Defenders of the European cultivated tradition also had reason to celebrate as the confident proclamations of professional musicians on jazz as Americas first authentic art receded to the background as these musicians adjusted to changed economic circumstances and a new popular music market. Professional musicians struggle for legitimacy during the Jazz Age, however, laid the ideological and musical foundation upon which the next generation of professional musicians would construct a modern jazz paradigm. In their quest for legitimacy as professional artists, they were the first popular artists to attempt to transform the moral, aesthetic, class, and racial constructions of the old ideal of good music in America. While their efforts contained their own complicity in manners of distinction, the contradictions of an elite populism embedded in a racist culture, they did struggle to create an alternative understanding of art and society in America. As the self-appointed mediators of the American vernacular, professional musicians and composers ardently worked to construct an alternative form of good music to that of the European cultivated music tradition – a music reflecting in some fashion the world of popular audiences and popular tastes. ( DeVeaux, 525-40) In this process of syncretism, the reinvention and reinterpretation of musical idioms and practices, these artists created the American big band dance orchestra and the Tin Pan Alley song that dominated American popular music until the middle of the twentieth century. While jazz did not become a universally recognized American high art form during the Jazz Age, professional musicians and composers transformed it into legitimate popular art music, although at the expense of those non-professional vernacular musicians who did not assimilate into their profession. The need for professional musicians to legitimate popular dance orchestras disappeared after the 1920s, and the old ideal of good music no longer occupied this professional class of musician. (Gioia, 213-20) The emergence of an alternative ideal of good music among professional musicians signaled a final separation between popular music making and the cultivated tradition in American music. This break was both ideological and practical; a reflection of both a new professional ethos among professional musicians and the culmination of the division in the social organization of American music between the world of popular music and the world of European cultivated music. (Lopes, 25-36) The previous crisscrossing professionally between the cultivated tradition and popular music making was no longer part of this profession. The future big band leaders and musicians of the Swing Era began their professional careers not in symphonies, but in the small jazz ensembles and jazz orchestras of the Jazz Age. The fate of jazz was seemed threatened by the power over popular music of a new mass media industry of broadcasts, recordings, and film. Just when the fortunes of jazz seemed dead and buried, however, the swing craze reignited popular interest in the cultivated jazz vernacular. (Hennessey, 156-60) The promotion of sweet music and the subsequent swing craze, however, set in motion a new distinction within the profession of musician. No longer than singularly obsessed with the world of European cultivated music, professional musicians who assimilated the black jazz vernacular now viewed sweet music as their more direct nemesis. The race and class boundaries articulated in the old ideal of good music were now articulated more directly for professional musicians in the distinction between the popular music cultures of sweet and swing.

The Hidden Hierarchy of Silences :: Argumentative Persuasive Essays Super Bowl

The Hidden Hierarchy of Silences On the night of February second, 2003, family members in thousands of U.S. households gathered together to participate in what is considered by many to be a great and important American tradition, the NFL Super Bowl. After kick-off, in most respects, everyone watched a game that had all the elements of a typical all American football game. Big muscled men threw a leather ball around, ran with it, and violently rammed into each other to the tune of a cheering audience. There were women on the sidelines wearing very tight, revealing clothing dancing for the crowd, and, after about two hours of all this, it was time for the traditional halftime performance of music and entertainment. It was during this performance where many argue that things began to shift slightly from the norm. For the second year, the performance was going to be produced by MTV, and perhaps in an effort to get more female and younger viewers tuned in, MTV advertised its performance of Justin Timberlake which promised "to shock". Timberlake ended the performance with a singing and dancing collaboration with Janet Jackson, and faithful to MTV's reputation, there was not a lot of singing, but plenty of over the clothing – crotch grabbing and groping of the singers themselves and each other. However, it was Justin's final movement after the words, "I'm gonna have you naked by the end of this song", where he ripped off part of Jackson's costume exposing her right breast, that triggered enraged viewers across the nation to cover their children's eyes, and call the FCC for justice. Although an account of these calls is not available for public scrutiny, their sentiments are probably of a similar range to what newspaper and magazine articles today are commenting on the recent incident in an NFL skit. Before the Monday Night Football game on November 15, Terrell Owens sees Desperate Housewives costar Nicollette Sheridan in the locker room wearing only a towel, and says in so many words that he will stay and have sex with her instead of going to the game. This event is now the most talked about obscenity broadcasting controversy since the Justin/Jackson event, and many are suspicious that it's no coincidence that the common denominator of suggested interracial sexual relations - is hiding deep within the public fury. Foucault, an expert on the societal obsessions with sex in the 18th century, takes note of what the different public discourses about sex can say about a society and their private views on sexual controversies.

Summary of Sam Shepard’s play: Buried Child

Buried child was penned down by Sam Shepard in 1978. This play is one of the Sam Shepard’s master pieces of all time. A member of the American Academy of Arts and Letters, Shepard received the Gold Medal for Drama from the Academy in 1992, and in 1994 he was inducted into the Theatre Hall of Fame. Shepard is the Pulitzer Prize-winning author of more than forty five plays. Shepard won Obie Awards for eleven of his plays including Buried Child. (Amazon) In his family drama, Buried Child, Shepard takes a shocking look at an American Midwestern Family who has buried their dark secret in the field.This takes a form of paradox because the characters seem intricately entangled to each other by dark secrets; they are also for all time alone. In the start of the play Halie and Dodge engage into a hilariously gaunt quarrel wich they seem to have been having forever. Married to Halie, 65 year old, Dodge is seventy years old drunkard, smoker and frequently has violent coughing outbursts. He is seventy years old. Halie spends time with the church Father. The father is an alcoholic and likes to spend time with women. He enjoys the not-so-secret affair with Halie.Dodge fathered three children with Halie. Tilden, the oldest son shows up after 20 years. Tilden was an All-American quarterback or fullback. Now he is mixed up in the head and can't take care of himself. Bradley is not considered very bright; he chopped his leg in a chainsaw accident. Bradley has serious discrepancy with Dodge. Ansel, the soldier died in a motel, on his honeymoon with the Catholic Italian girl. Haley believes that Ansel got unlucky the day he married. (Amazon) Vince, Tilden’s son, arrives at the farm house but nobody recognizes him.When Vince brings his girlfriend, Shelly, home to meet his family, she is at first charmed by the â€Å"normal† looking farm house. Bizarrely, no one seems to remember Vince at first, and they treat him as a trespasser and imposter. Ultimately, they r eluctantly agree on acknowledging him as a part of their greatly dysfunctional family. Slowly and gradually, the dark secret that the old couple has been hiding from their children and grandchildren starts to pop out like a seed grows and the plant pops out tearing the earth.Long time back, Dodge buried an unwanted child (the product of an incest relationship between Tilden and his mother) in an undisclosed location. From that point onward, the entire family lived under a cloud of shame that is at last chased away when Tilden discovers the ill-fated child's remains and carries it upstairs to his mother. This act seems to wash out the family of its curse. Corn grows in the fields where nothing would grow for years. The play ends with a declaration of hope from Halie.(Theatre) The most important symbol used in the play is the rain, that lets the crops in the field grow. At the beginning of the play rain falls on the family’s farmhouse and all its visitors, washing away the dirt and the smell and, symbolically, the sins of their past. Some of the most powerful symbols in this play are associated with nature and fertility. The dead land where no crops have grown forever symbolizes Halie. It suggests that Halie was past menopause.The rain that brought the land to life and vegetation and plant life popped out of the dead earth. This particularly symbolizes Tilden’s potential of conceiving a child with his own middle aged mother. Tilden handles to reap the bare fields. (Amazon) References: Buried Child by Sam Shepard, Amazon. com, Amazon (2010), web, July 11, 2010 from http://www. amazon. com/Sam-Shepard-Starving-Turista-Tongues/dp/0553346113 Buried Child, Theatre database, Plot synopsis, n. d. web, July 11, 2010 from http://www. theatredatabase. com/20th_century/buried_child. html

Proposed Capstone Project Essay

To implement the system in an online environment. To design a database that will organize blotter related information and records. To provide a search facility for finding and filtering of records. To include a module that will facilitate updating of reported blotters. To generate statistical reports pertinent for decision making. Project Description Police officers are assigned at the police stations to encode the complaints, police reports, and crime incidents reported in their areas of responsibilities (AOS) directly into their computers connected online. All police precinct blotter records are visible in the web server anytime of the day. At the end of the day, each police station prints their day’s journal using the system. System Platform: Web Application utilizing HTML5, PHP, MySQL, and CSS. System Functionalities [Include your HIPO in this part. Make sure all functionalities are stated here. I suggest, you divide your features in terms of Client and Server Side. Client Side may still be divided in terms of your users. These features are still based on the SE Project which is PC-Based, you have not specified features when it will be implemented online.] Management of blotter cases. (inc: Creating blotter and archiving blotter case) Viewing of records. (by case number, name, date) Generating statistical reports in graphical models. Generate and queue reports. The system will generate reports such as the following: Number of blotter incidents per barangay Most common cases per barangay Monthly/Quarterly/Annually report of blotter cases Individual Blotter Report The individual reports are collated into single reports which can be accessed by City of Santa Rosa Police Headquarters Superintendent for his information and use. Statistical Report Graphical representation of most common cases annually for comparative purpose. Chart for areas with frequent cases reported. The purpose of this report is to monitor and isolate areas with the most number of incidents. And also use for decision making and for development of solutions. Read This: http://books.google.com.ph/books?id=9XcWAAAAQBAJ&pg=PA93&dq=Computerized+Blotter+System&hl=en&sa=X&ei=QfQzVKXqJ8-coQS07IHYDA&ved=0CCMQ6AEwAA#v=onepage&q=Computerized%20Blotter%20System&f=false http://www.gmanetwork.com/news/story/118908/news/nation/qc-police-to-have-computerized-blotter-system-in-2-months https://www.facebook.com/media/set/?set=a.444684698888025.97968.160481633975001&type=3 http://www.slideshare.net/jobitonio/pnp-infromation-communication-management-eblotter-program http://www.studymode.com/essays/Blotter-System-1312101.html http://www.studymode.com/essays/Capstone-Project-1178085.html

Bless The Beasts And Children essays

Bless The Beasts And Children essays The novel, Bless the Beasts and Children, by Glendon Swarthout has a theme of the progression of the Bedwetters. These are kids who are ostracized because of their lack of physical abilities. Their individualistic actions are eliminated as the novel progresses. Before the group changed to a fully functional group one could find clues of these individualistic acts such as when the Bedwetters attempt to steal the buffalo head from one of the other cabins. John Cottons, the leader of the Bedwetters, at first refuses to compromise and allow the group to get food. When he does compromise, the Bedwetters begin their progression. Finally the event in which the Bedwetters free the buffalo shows them as a fully functional group. The groups individualism is shown when they attempt to steal the buffalo head from the Apaches. They botched it(pg. 60) describes the Bedwetters attempt. Goodenow and Lally 2 set the group off on the wrong foot after one has giggled and the other trips on a root. Teft and Shecker, being the strongest, were the ones to enter the Apaches cabin and take the trophy down. Once, successfully having entered the cabin, Shecker being clumsier than a cub bear catches the power switch to his radio on a piece of elastic. This causes all the campers to wake up and tackle the Bedwetters. The Bedwetters are tied to a tree and the Apaches urinate in their chamber pot. If their actions had properly been planned and the six of them worked together, the Bedwetters would have been successful. However, that was not the case and it showed. All but one of the six began to cry. If the group had been one whole, they would have used each others strength to keep from crying. The Bedwetters learn from this ev ent in which they are greatly humiliated. When the next time approached with a way they could better work together, they will. Clearly, the Buffalo Head incident has started the Bedwe...

A Fading India Journalistic Essays

I am waiting for the Regal Taj when another bus, advertising itself as the â€Å"premier deluxe air-conditioned Taj Express,† arrives, its seats apparently filled completely with people. I climb up the creaking steps as the driver stretches his hand for a 10 rupee note for the pleasure of this upgraded ride. There is a reason why the bus is â€Å"air-conditioned†; two of the windows are broken. A makeshift cellophane sheet stuck with duct tape over the open space keeps coming undone and rattles angrily against the ledge. This is not a bus for the country club crowd. Men show deep creases of labor and worry on their foreheads and women balance four or five children, on their laps and pressed against their bosoms. But they are Indian, and they have a birthright and an obligation to respect their history. This is the country where spontaneous monuments sprout up in honor of Shivaji, the Hindu warrior who lost his friends, family, and then his life in resisting the conquering Moguls. This is the country where people invoke the name of Gandhi at political rallies, â€Å"Long Live Mahatma,† as if his placid face lingers as a ghost on the stage. The Mahabharat, mostly mythical but historically based, was adapted for television a few years ago and remains the highest rated series of all time. So, as overworked and overburdened as the masses may be, the Taj Mahal beckons to reveal the glory of India’s past to them. The back of the bus has an empty seat, next to a foreign tourist, which I claim as my own.

History of the United States Since 1865 Essay Example | Topics and Well Written Essays - 750 words

History of the United States Since 1865 - Essay Example Republicans turned their attention from pursuing war to reconstructing the union. Radical Republicans gained control over policy making in congress, together with more moderate republicans they managed to gain control of the House of Representatives and the Senate. With this, they obtained adequate power to control possible declinations by President Andrew Johnson. The first Reconstruction act was passed by congress in March 1867. Secessionist states were divided into five military districts, each of which was governed by a Union general. Martial law was declared and troops dispatched to cultivate peace and protect former slaves. Thaddeus Stevens who was a radical supported the seizing of land from rich planters giving it to former slaves, moderates continued the Freedmen’s bureau which had always been underfunded and understaffed and was the only thing that had offered hope for former slaves by intervening between blacks and whites. General Oliver Howard who was the bureauâ⠂¬â„¢s commissioner backed up education for blacks with the aim of improving their prospects and living conditions. In 1869, more schools serving large numbers of students reported to the bureau. The bureau pushed for establishment of official contracts between landlords and laborers’ as well as a civil rights bill to grant citizenship for everyone born in the United States irrespective of color which would bring about equal protection of citizens under the law, the bill stated nothing about voting by blacks. The freedmen’s bureau and civil rights bill were supported by republicans as the hallmark to rebuilding the United States. President Andrew Johnson declined both bills claiming that they violated the State’s rights and those of white southerners who had not taken part in the decision making process. To ensure that blacks retained their rights, the republicans proposed the fourteenth amendment which was approved granting citizenship to everyone born in Ameri ca and equal protection for all citizens as stated in the law. Southern men who gathered in state conventions did not accept the Fourteenth amendment; they displayed their disapproval in every way in an attempt to prevent further prospects of remaking the south. In the spring of 1866, there were riots in New Orleans and Memphis, policemen and whites ruthlessly attacked and assassinated black people burning their homes with light or no cause. In the same year the Ku Klux Klan emerged, it was founded in Tennessee by Nathan Bedford Forrest. The Ku Klux Klan strived to ensure that the whites remained powerful in America; they wore costumes meant to overawe former slaves and stayed anonymous to avoid any retaliation. A military wing formed under the Democratic Party worked tirelessly fiving warnings and assassinating any whites and blacks who supported black rights or associated with the Republicans. Although Republicans had gained control of all northern states they were dissatisfied wi th the voting system, distribution of land, courts and education. In March 1867, they passed the Reconstruction act that placed the south under military leadership; all other southern states with the exception of Tennessee were divided into military districts. Consequently black and white men contested for leadership positions within the Republican Party. In 1868, the Republicans elected Ulysses D. Grant as president after Johnson was charged with impeachment, Grant was believed to be independent of party